Peter Travers

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For 3,297 reviews, this critic has graded:
  • 60% higher than the average critic
  • 3% same as the average critic
  • 37% lower than the average critic
On average, this critic grades 1.7 points higher than other critics. (0-100 point scale)

Peter Travers' Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Iris
Lowest review score: 0 Crazy on the Outside
Score distribution:
3297 movie reviews
    • 56 Metascore
    • 60 Peter Travers
    Jakubowicz achieves maximum impact by keeping our eyes on the man in the invisible box, one trying to teach children that the power of art can literally be a saving grace.
    • 86 Metascore
    • 90 Peter Travers
    Using their voices for demonstrations and protests, they helped pass 1990’s revolutionary Americans With Disabilities Act. This documentary proves that they are still changing the world.
    • 39 Metascore
    • 40 Peter Travers
    There’s no doubting Potter’s laudable ambition to capture the swirling headspace of her brother, who died in 2013. But in trying to restore his dignity in fighting the dying of the light, she’s neglected to portray him in the human terms that would let us share his spirit.
    • 93 Metascore
    • 90 Peter Travers
    The friendship at the heart of this film, as indelibly portrayed by two brilliant young actresses — Flanigan is a wonder to behold, while Ryder nails just the right notes of supportive and warmly sympathetic — is a thing of beauty. Hittman’s urgent film is an emotional wipeout. It’s hard to watch. It’s also impossible to forget.
    • 56 Metascore
    • 50 Peter Travers
    What a bummer that a movie that paints itself as a scintillating, sexually-charged, art-world thriller ends in a swamp of failed intentions.
    • 68 Metascore
    • 50 Peter Travers
    Cornball? Maybe. But it helps that O’Connor dexterously avoids the usual lump-in-the-throat tearjerking. And it helps even more that the star radiates a soul-deep belief that it’s the small steps that matter more than a rah-rah victory. He makes us root for Jack — just us The Way Back makes us root for Affleck, no matter how long the road ahead.
    • 61 Metascore
    • 60 Peter Travers
    You’ll laugh. You’ll cry. But first you have to cut through the noise.
    • 57 Metascore
    • 50 Peter Travers
    Wobbly but well-intentioned broadside against racism.
    • 54 Metascore
    • 50 Peter Travers
    The Zeitlins have dreamed since childhood of bringing their version of "Peter Pan" to the screen. Their collective imaginative powers are indisputable. But what started as a visually gripping, fiercely funny, and emotionally centered take on Wendy’s mission statement (“The more you grow up, the less things you get to do that you wanna”) ends in a chaotic clutter that deserves, well, the hook.
    • 71 Metascore
    • 80 Peter Travers
    The Invisible Man is a chilling mind-bender that strikes at our deepest fears — the ones we can’t see.
    • 47 Metascore
    • 50 Peter Travers
    Ford is at his droll, grumpy-old-man best, so he can do his own acting without having his emotions computer generated. At least for now.
    • 35 Metascore
    • 10 Peter Travers
    On film, The Last Thing He Wanted settles for just being hollow. It’s the last thing any of us wanted.
    • 71 Metascore
    • 80 Peter Travers
    With the help of cinematographer Christopher Blauvelt, composers Isobel Waller-Bridge and David Schweitzer, and Alexandra Byrne’s spectacular costumes, the film captures the whirl of a predatory society that can no longer hide behind surface prettiness. That sounds a lot like right now.
    • 22 Metascore
    • 0 Peter Travers
    The only genuine, blood-curdling scream incited by this stupefyingly dull time- and money-waster comes at the end, when the notion dawns that Blumhouse’s Fantasy Island is meant to spawn sequels. Stop it now, before it kills again.
    • 62 Metascore
    • 50 Peter Travers
    The Photograph comes down with a teary case of "The Notebook," laying on flashbacks that yank us out of the present, where our stars live, and into a past riddled with sentimental clichés.
    • 49 Metascore
    • 40 Peter Travers
    Downhill is sure as hell not the farce it’s been advertised to look like in the trailer. And you’ll search in vain for "Force Majeure’s" grounding in existential crisis. I don’t know what the Swedes would call Downhill. What’s Swedish for an unholy mess?
    • 60 Metascore
    • 40 Peter Travers
    The fight scenes grow numbing as the birds take on the goons in melees that add up mostly to noise. All you feel is numb as Yan piles on one brawl after another to give the illusion that something is happening. Nothing really is. Birds of Prey and its ilk are empty calories, not meant to disturb when they dazzle. Joker, whatever its shortcomings, tackled a festering society that created its own monsters. Slapping the topical theme of female empowerment on a story that trucks in business-as-usual violence does not qualify as a game-changer — or a reason to go to the movies.
    • 64 Metascore
    • 60 Peter Travers
    The Lodge strains credulity beyond the breaking point; “contrived” is the mildest word you could use to describe the plot. Luckily, Franz and Fiala are masters of setting a mood that makes your skin crawl. And Keough — she’s Elvis’s eldest granddaughter — is a subtle sensation.
    • 45 Metascore
    • 40 Peter Travers
    You can feel the desperation of the filmmakers as they throw in fist fights, car chases, and, yes, more wig changes to give an illusion of momentum to a grab bag of botched ideas. No sale.
    • 77 Metascore
    • 80 Peter Travers
    Green’s slow-burn style might not spell box-office windfall in a cinema era of short attention spans, but her artistry is indisputable.
    • 52 Metascore
    • 50 Peter Travers
    Robinson means to leave you in tears, no matter how heavy-handed his approach. But the sentimental ending that suggests all loose ends have been tied up does a disservice to the battle ahead and a war still to be won in the name of the people left to pick up the pieces.
    • 26 Metascore
    • 20 Peter Travers
    This out-and-out disaster dissolves in a puddle of botched intentions that will leave children sad and confused and adults scratching their heads.
    • 59 Metascore
    • 60 Peter Travers
    It’s a bumpy ride for sure, but Smith and Lawrence haven’t lost their irresistible mojo and Bad Boys For Life plays like a blast of retro ’90s action. It’s like they never left.
    • 33 Metascore
    • 20 Peter Travers
    What we have here is a comedy on life support, with Haddish and Byrne valiantly performing futile acts of resuscitation. Sorry to report: The patient died.
    • 48 Metascore
    • 30 Peter Travers
    Shot three years ago, this soggy horrorshow gives credence to the belief that January is the month Hollywood uses to bury its mistakes.
    • 77 Metascore
    • 90 Peter Travers
    If you want to see what great acting is, watch Alfre Woodard deliver a master class in Clemency.
    • 68 Metascore
    • 80 Peter Travers
    It’s the actors who make this real-life legal procedural come alive.
    • 78 Metascore
    • 90 Peter Travers
    The burning intensity of MacKay’s face, reflecting the ferocity and futility of war, leaves an indelible mark. His fervor, coupled with the creative passion that Mendes infuses in every frame, makes 1917 impossible to shake.
    • 91 Metascore
    • 90 Peter Travers
    Surprisingly timely and enduringly timeless.
    • 32 Metascore
    • 0 Peter Travers
    Attention, moviegoers searching for the worst movie of the year: We have a late-breaking winner. Cats slips in right under the radar and easily scores as the bottom of the 2019 barrel — and arguably of the decade. Even Michael Bay’s trash trilogy of soul-destroying Transformers movies can’t hold a candle. What happened?

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