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
    • 54 Metascore
    • 70 Peter Debruge
    Brian Cox rages robustly and arrestingly against the dying of the light in The Etruscan Smile, an unabashedly formulaic yet undeniably affecting coming-to-terms drama that may cause as much discomfort as delight for those who recognize bits and pieces of their own fathers (or themselves) in the cantankerous character Cox portrays so persuasively.
    • tbd Metascore
    • 40 Peter Debruge
    The film’s unexpected ending is both effective and unconscionable, factually accurate and virtually impossible to accept, in part because Günther has manipulated us to make his point. He wants to deliver a statement about the American dream, but we’re not obliged to accept his conclusion. Maybe it’s just the movie that’s rigged.
    • 35 Metascore
    • 40 Peter Debruge
    Shane Mack’s screenplay is not without laughs, but it is certainly lacking in prudence.
    • 70 Metascore
    • 80 Peter Debruge
    Levine’s an emerging talent known only to theater audiences at the moment, owing to his dual roles in Matthew Lopez’s “The Inheritance,” although Minyan makes clear that we are dealing with a performer of uncommon gifts.
    • 77 Metascore
    • 80 Peter Debruge
    The real achievement of Human Nature is that it takes a complex subject and distills it into such an engaging 95-minute package. That’s the successful experiment underlying this particular project, in which viewers happen to serve as the guinea pigs in how such technical information can be presented in a more effective way.
    • 46 Metascore
    • 60 Peter Debruge
    In spite of its tweaks to gender roles, the duo’s sexcapades and Snow’s spirited performance, Hooking Up doesn’t offer much by way of surprise, which doesn’t mean that as the odd, amiable couple head toward their personal reckonings, you won’t find yourself rooting for them. Separately and together.
    • 39 Metascore
    • 40 Peter Debruge
    The movie is an exasperating puzzle with most of the pieces missing.
    • 50 Metascore
    • 70 Peter Debruge
    The Hunt turns out to be a good deal smarter — and no more extreme — than most studio horror films, while its political angle at least encourages debate, suggesting that there’s more to this hot potato than mere provocation.
    • 55 Metascore
    • 70 Peter Debruge
    Resistance tells a story that’s plenty strong on its own terms, and if anything, it’s a bonus that one of the key participants should survive to become famous. Afforded depth and gravitas by Angelo Milli’s string score, the film hardly needs the framing device in which Ed Harris appears as Gen. George S. Patton, regaling his troops with Marceau’s story before inviting him onstage for his first public show.
    • 49 Metascore
    • 60 Peter Debruge
    The film even pokes fun at itself in the process, fully aware that Spenser Confidential isn’t meant to be taken as seriously as Wahlberg’s last few movies — and just as well, since irreverence plays well on Netflix.
    • 79 Metascore
    • 100 Peter Debruge
    Turns out there are a lot of things that have gone unsaid in movies until now, and Saint Frances goes there in a way that’s not only enlightening, but entertaining as well. This exceptionally frank, refreshingly nonjudgmental indie was written by and stars Kelly O’Sullivan, a “girl next door” type whose no-nonsense approach to issues facing both her gender and her generation leaves ample room for laughter — à la Amy Schumer’s “Trainwreck.”
    • 81 Metascore
    • 90 Peter Debruge
    There Is No Evil comes across as four films for the price of one, none of its segments anemic, and each contributing fresh insights to the paradoxes of capital punishment in Iran.
    • 69 Metascore
    • 60 Peter Debruge
    There’s a stylistic and narrative elegance to Petzold’s approach, with its clean lensing and repeated use of a single piece of music (the rolling piano Adagio from Bach’s Concerto in D Minor, BWV 974), that suggests restraint, where a queer filmmaker might have propelled things into camp territory. In a way, it’s a shame that Undine stops short, since the material feels thin, and the statement as murky as the lake to which the camera ultimately returns.
    • 51 Metascore
    • 70 Peter Debruge
    Depp plays it surly throughout, dominating those around him, but Minami has a strong screen presence as well (despite struggling somewhat with the dialogue in her first English-language role). As Aileen, she needs only to look at Gene, and he will yield to her demands. The two characters read as equals here, despite their polar-opposite personalities, and that unusual chemistry fuels the dangerous reporting ahead of them.
    • 44 Metascore
    • 40 Peter Debruge
    The movie doesn’t show a complex enough representation of either adult life or the New York literary world to offer much depth to grownups (it’s far more engaged with Joanna’s romantic life and dream sequences set at the Waldorf Astoria), which means that My Salinger Year must have been intended to inspire young women for whom 1995 seems like the ancient past.
    • 52 Metascore
    • 50 Peter Debruge
    The emperor is naked, Greed wants us to realize, but unless we agree to radically rethink our own wardrobes, does it make any difference?
    • 81 Metascore
    • 70 Peter Debruge
    While Premature may seem less professional than your average Sundance movie (much less entry-level studio fare), that doesn’t diminish what’s fresh, vulnerable and true about the film.
    • 22 Metascore
    • 30 Peter Debruge
    The finished film plays at times like an out-of-control pitch meeting, lurching from one ostensibly clever idea to the next without having taken the trouble to connect the dots, or even to remain consistent with the two simple rules it sets out for itself.
    • 71 Metascore
    • 80 Peter Debruge
    With Weinstein on the ropes, Macfarlane pulls no punches, doing a fair but unflinching job of letting those he once dominated share their narrative. That they do so on camera makes what they have to say that much more impactful, and Macfarlane does their testimony justice, delivering a hard-hitting documentary that speaks truth to power.
    • 54 Metascore
    • 50 Peter Debruge
    The trouble with “P.S. I Still Love You” is that nearly all the reasons that Lara Jean makes such a refreshingly different romantic lead are contained in the earlier film, and here, she’s reduced to a version of the passive Disney princess, trying to decide between two dudes who both think she’s swell.
    • 74 Metascore
    • 70 Peter Debruge
    Ultimately, Boys State works because the “characters” are so compelling.
    • 77 Metascore
    • 90 Peter Debruge
    Nine Days is that rare work of art that invites you to re-consider your entire worldview.
    • 71 Metascore
    • 80 Peter Debruge
    Falling is unpretentious and perfectly accessible to mainstream audiences. Mortensen’s patience, his way with actors and his trust in our intelligence are not unlike late-career Eastwood, which isn’t a bad place to be so early in one’s directing career.
    • 88 Metascore
    • 90 Peter Debruge
    Chung transforms the specificity of his upbringing into something warm, tender and universal.
    • 45 Metascore
    • 70 Peter Debruge
    This isn’t an easy role, but Lively aces it.
    • 83 Metascore
    • 80 Peter Debruge
    It’s an irreverent take on a form where earlier iterations were obliged to take themselves seriously. And somehow that liberates what felt like a slick but ironic riff on a tired genre to do something sincere.
    • 69 Metascore
    • 80 Peter Debruge
    This fleet-footed, kaleidoscopic showcase is all about finding your voice so that the world can start to appreciate what it doesn’t know about those it hears from far too seldom.
    • 80 Metascore
    • 80 Peter Debruge
    Movies almost never deal with the intricacies of marriage: finances, schooling, finding the right work-life balance. By contrast, The Nest burrows into the minutiae, and the rewards of going along with the O’Haras are worth it, at least for those willing to risk the frustration of a movie that plays by its own rules and doesn’t necessarily believe in happy endings.
    • 54 Metascore
    • 40 Peter Debruge
    What felt so revolutionary in 2012 is no less visionary today, but packs a disappointing sense of familiarity this time around, like tearing open your Christmas presents to find … a huge stack of hand-me-down clothing. Or else, like watching a magic trick performed a second time from a different angle.
    • 84 Metascore
    • 80 Peter Debruge
    Rather than presenting another puzzle with important pieces missing, with this project, Decker provides more material than we know what to do with, and the resulting prism feels intellectually rewarding, no matter the angle from which we choose to approach it.

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