Peter Debruge

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For 1,091 reviews, this critic has graded:
  • 53% higher than the average critic
  • 3% same as the average critic
  • 44% lower than the average critic
On average, this critic grades 0.1 points lower than other critics. (0-100 point scale)

Peter Debruge's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Skyfall
Lowest review score: 0 Deuce Bigalow: European Gigolo
Score distribution:
1091 movie reviews
    • 90 Metascore
    • 80 Peter Debruge
    Uncut Gems feels like being locked inside the pinwheeling brain of a lunatic for more than two hours — and guess what: It’s a gas!
    • 80 Metascore
    • 100 Peter Debruge
    Propelled by color, energy, electronic music and a quartet of career-making performances, here is that rare sort of cinematic achievement that innovates at every turn, while teaching audiences how to make intuitive sense of the way it pushes the medium.
    • 81 Metascore
    • 70 Peter Debruge
    Watching Bale and Damon channel those two speed freaks in all of their surly, testosterone-spitting glory is a reminder of how much fun it was to watch Bale play a similar character opposite Mark Wahlberg in “The Fighter.”
    • 69 Metascore
    • 90 Peter Debruge
    Presented as if filtered through a sunny Instagram setting, Greener Grass won’t exactly make you envious of the over-idealized lifestyle it skewers, and yet it’s such a delightful place to inhabit, you won’t want to leave when the credits roll.
    • 76 Metascore
    • 60 Peter Debruge
    For a film bursting with so many ideas, only a fraction of them seem to work. And yet, as an artistic statement, “Tigers” proves as fearless as its kid characters, and an indicator of incredible things to come from its creator.
    • 21 Metascore
    • 30 Peter Debruge
    What was novel when Eddie Murphy did it for “The Nutty Professor,” however, feels lazy by comparison here, with hardly enough story to support them, and even though the transformations are impressive, there’s an alarming clumsiness when it comes to Wayans acting against himself.
    • 75 Metascore
    • 80 Peter Debruge
    Though undeniably charming, Buñuel can be a difficult character to like here, but that’s the point: The movie dares to imagine the exact moment when Buñuel the callow prankster became Buñuel, engaged anthropologist of the human condition, whose later Mexico City masterpiece “Los Olvidados” was clearly informed by what he witnessed in Las Hurdes.
    • 64 Metascore
    • 80 Peter Debruge
    The violence here is so over-the-top that it can lapse into comedy, prompting shocked laughter when certain characters are unexpectedly killed, and again when it comes time to dispose of their bodies, none of which can adequately prepare you for the film’s explosively funny finale.
    • 76 Metascore
    • 80 Peter Debruge
    You don’t have to be a “dog person” to find these two irresistible, although those with a soft spot for animals may be surprised by how deeply attached they get over the course of the film.
    • 58 Metascore
    • 80 Peter Debruge
    So, where do Shadyac and Atchison expect audiences to direct their frustration at such a miscarriage of justice? Well, that’s what makes “Brian Banks” special: It is not an angry film, but one that preaches forgiveness in the face of such adversity.
    • 43 Metascore
    • 60 Peter Debruge
    Granted, there aren’t a lot of surprises in The Art of Racing in the Rain. If anything, knowing — or at least anticipating — how the film’s myriad tragedies will unfold seems to heighten the effect.
    • 60 Metascore
    • 70 Peter Debruge
    You may enter a film like this one believing you had some grasp of how gravity works, or the human threshold for pain, or what constitutes a good movie, but the experience is so exhilaratingly mind-altering, so radically untethered from terra firma, you basically have to readjust your basic understanding of everything you know to be true and just go with the flow.
    • 29 Metascore
    • 30 Peter Debruge
    American audiences typically adore “white savior movies,” but this one pushes the stereotype to such an extreme ... it’s impossible to ignore how badly the film marginalizes the courageous Ethiopian refugees about whom it purports to care so deeply.
    • 63 Metascore
    • 70 Peter Debruge
    The most endearing quality of Nicholas Stoller and Matthew Robinson’s script — not counting the fact they didn’t try to whitewash their Latina heroine — is the way it permits Dora to remain indefatigably upbeat no matter what the situation, whether navigating treacherous Incan temples or facing an auditorium of jeering teenage peers.
    • 49 Metascore
    • 50 Peter Debruge
    With any luck, Relive will get a reboot down the road, in which someone takes better advantage of the basic idea.
    • 63 Metascore
    • 70 Peter Debruge
    Chances are, if you work in Hollywood, This Changes Everything won’t teach you anything you don’t already know. But that doesn’t mean it’s not helpful to hear it articulately communicated by some of the most respected women in the business.
    • 67 Metascore
    • 70 Peter Debruge
    If “Two Lovers” was a lively New Wave lark, exploding with color and energy, then A Faithful Man is its sober, cerebral opposite, gray and stylistically restrained, an efficient short story of a film that feels more like an intellectual exercise than an emotional experience.
    • 52 Metascore
    • 40 Peter Debruge
    To the extent that audiences are willing to go along with an overwrought documentary that strives to imitate what far more professionally executed podcasts have innovated in recent years ..., Berman’s stunt could turn into one of the year’s buzzier nonfiction releases.
    • 80 Metascore
    • 80 Peter Debruge
    Mozaffari has an incredible eye for the details that bring a situation or place to life, working with inexperienced actors to create electrifying characters and a sense of edgy unpredictability.
    • 55 Metascore
    • 80 Peter Debruge
    Favreau’s most important responsibility in overseeing the remake was simply not to mess it up. Which he doesn’t. Then again, nor does he bring the kind of visionary new take to the material that Julie Taymor added when staging the Broadway musical. That makes Favreau’s “The Lion King” an undeniably impressive, but incredibly safe entry to the catalog — one whose greatest accomplishment may not be technical (which is not to diminish the incredible work required to make talking animals look believable), but in perfecting the performances.
    • 42 Metascore
    • 80 Peter Debruge
    It’s both funny and familiar to see these two incredibly different personalities thrust together for what’s meant to be a short ride. [SXSW work-in-progress review]
    • 81 Metascore
    • 80 Peter Debruge
    Director Lila Avilés has designed her debut feature, The Chambermaid, to give audiences the opposite opportunity, inviting us to step into the shoes of an invisible woman for two hours, and as such, her film is a rare and special thing.
    • 40 Metascore
    • 40 Peter Debruge
    It’s nowhere near the embarrassment of Brian De Palma’s “Domino,” or any number of recent studio tentpoles. Nor is it fresh enough to pretend that audiences had missed out on something special if it had been buried altogether — except perhaps for Luss, who’s bound to get another shot.
    • 48 Metascore
    • 40 Peter Debruge
    This is the new normal for horror movies: The screenplays have to seem hipper than the premise they represent, which puts “Child’s Play” in the weird position of pointing out and poking fun at all the ways it fails to make sense.
    • 66 Metascore
    • 70 Peter Debruge
    Most of all, Emanuel demonstrates forgiveness is hard work that requires a divine-level of fortitude. Especially when it comes at direct odds with the ones you hold dear.
    • 84 Metascore
    • 90 Peter Debruge
    "Toy Story" ushered in the era of computer-animated cartoon features, and the fourth movie wraps up the saga beautifully. At least, for now.
    • 38 Metascore
    • 60 Peter Debruge
    The connection between Tessa Thompson and Hemsworth is what saves the day, not anything their characters do onscreen.
    • 42 Metascore
    • 40 Peter Debruge
    An egregiously miscalculated rent-a-companion comedy from Irish writer-director John Butler (“Handsome Devil”).
    • 58 Metascore
    • 60 Peter Debruge
    If anything, what Triet has done is demonstrate that people are allowed to be complicated — and at times contradictory. And the tidy Hollywood ending betrays the fact that Victoria’s problems have less to do with sorting out who’s in her bed than what’s in her head.
    • 26 Metascore
    • 30 Peter Debruge
    Isabelle is curiously old-fashioned and not at all original enough to distinguish itself in American release.

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