Peter Bradshaw

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For 949 reviews, this critic has graded:
  • 45% higher than the average critic
  • 3% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 1.7 points higher than other critics. (0-100 point scale)

Peter Bradshaw's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Peterloo
Lowest review score: 20 Shield of Straw
Score distribution:
  1. Negative: 58 out of 949
949 movie reviews
    • 60 Metascore
    • 60 Peter Bradshaw
    David Mackenzie’s retelling of the Robert the Bruce story for Netflix is bold and watchable, with a spectacular final battle scene shot with flair by the cinematographer Barry Ackroyd
    • 53 Metascore
    • 60 Peter Bradshaw
    Assassination Nation has got some gross-out chutzpah, and the surreal marching band scene over the final credits is inspired.
    • 67 Metascore
    • 60 Peter Bradshaw
    This film induces a grisly shiver, like a slug dropped down the back of your neck, and there are some amazing images. But I wondered if it was finally unfinished and anticlimactic.
    • 78 Metascore
    • 40 Peter Bradshaw
    This tricksy, exasperating and strangely unenlightening film, with its pointless fictional narrator played by Alan Cumming, purports to tell the story of Orson Welles’s mysterious “lost” masterpiece, The Other Side of the Wind. But in jokily trying to imitate the jabbering chaos of this film’s production history, it fails to give a clear, informative account.
    • tbd Metascore
    • 60 Peter Bradshaw
    This is a watchable, if blandly celebratory and unchallenging portrait of a massive rock institution.
    • 57 Metascore
    • 60 Peter Bradshaw
    JK Rowling’s creative imagination is as fertile as ever, and newcomers Law and Johnny Depp impress, but the second film in the series is bogged down by franchise detail.
    • 72 Metascore
    • 60 Peter Bradshaw
    These are brilliant impersonations, the kind that can only be achieved by exceptionally intelligent actors; the superb technique of both is matched by their obvious love for the originals.
    • 58 Metascore
    • 20 Peter Bradshaw
    There is something deeply crass about this facetious nonsense, and everyone involved in this film might want to reflect that Nazi medical experimentation during the second world war did in fact happen, under circumstances other than these. It was a very real thing, not just a death-metal horror movie gag.
    • 83 Metascore
    • 60 Peter Bradshaw
    The whole film is like an incomplete fragment, intriguing if frustrating.
    • 69 Metascore
    • 60 Peter Bradshaw
    Moore never quite settles on a single, compelling riposte to Trump, never really hones his arguments to a piercing arrowhead of counterattack. Instead, he rambles over almost everything … entertainingly, but confusingly, ending on an image of Parkland School shooting survivor Emma González.
    • 79 Metascore
    • 80 Peter Bradshaw
    Entirely riveting. It made me nostalgic for the BBC’s Young Scientists of the Year programme, which ran from 1966 to 1981. Can’t we revive it?
    • 54 Metascore
    • 80 Peter Bradshaw
    This is an entirely ridiculous shaggy-dog story, a comedy salted with strangeness and seasoned with surreality.
    • 63 Metascore
    • 40 Peter Bradshaw
    People will want to make their own minds up about the film, but for me there is something worryingly crass and naive in it.
    • 82 Metascore
    • 80 Peter Bradshaw
    The Hate U Give is a fierce, dynamic movie with a terrific performance from Amandla Stenberg as Starr.
    • 78 Metascore
    • 80 Peter Bradshaw
    The habitual calm and gentleness of Mahamat Saleh Haroun’s film-making here has a sharp edge and an overtly political point – as well as a flourish of violent destruction and despair that blindsided me.
    • 74 Metascore
    • 60 Peter Bradshaw
    Been So Long has a sweet-natured openness. It balances the tough realities of life in the city with the buoyant possibilities of romance isn’t easy, and succeeds a lot of the time. Michaela Coel is tremendous in the leading role.
    • 67 Metascore
    • 60 Peter Bradshaw
    An interesting and worthwhile drama.
    • 87 Metascore
    • 80 Peter Bradshaw
    It is a film with a sledgehammer punch.
    • 60 Metascore
    • 60 Peter Bradshaw
    For all its twisty unexpectedness, it didn’t deliver a really satisfying denouement. The performances are interesting.
    • 81 Metascore
    • 80 Peter Bradshaw
    It’s an uncompromising midnight movie.
    • 71 Metascore
    • 60 Peter Bradshaw
    The film is a respectful and valuable tribute.
    • 89 Metascore
    • 80 Peter Bradshaw
    Columbus is an engrossing and unexpectedly passionate film, although much of the passion is displaced outwards into a feeling for space, for mass, for building materials. It is a static passion, but not inert.
    • 70 Metascore
    • 60 Peter Bradshaw
    An entertaining documentary. Maybe the full story of Studio 54 has yet to be told.
    • 69 Metascore
    • 60 Peter Bradshaw
    The film is as intelligent and committed as you would expect from Greengrass, but basically pretty conventional, like a very classy TV movie.
    • 35 Metascore
    • 20 Peter Bradshaw
    There are in fact one or two big gags, but no real sense of fun - not compared to something like Thor: Ragnarok. Director Ruben Fleischer, who made Zombieland and Gangster Squad, is uninspired. Venom is riddled with the poison of dullness.
    • 75 Metascore
    • 80 Peter Bradshaw
    Just as in Stacy Peralta’s classic 2001 documentary Dogtown and Z-Boys, this gives its audience a sense of the almost pastoral innocence of skateboarding, its devotion to nothing more or less than having fun: a subversive urban vocation that is dedicated to the art of pleasure.
    • 43 Metascore
    • 40 Peter Bradshaw
    Hart’s brilliant hyperactive comedy has been dampened and smothered in this disappointingly unfunny showcase, which he has produced and co-scripted with five other credited writers.
    • 39 Metascore
    • 40 Peter Bradshaw
    The humour feels as if it is pitched at kids rather than adults, and for me Johnny English’s wacky misadventures aren’t as inventive and focused as Atkinson’s silent-movie gags in the persona of Bean.
    • 65 Metascore
    • 80 Peter Bradshaw
    It is a harrowingly effective film, though flawed by the actions of Weaving’s officer being unconvincingly motivated at the end, and perhaps born of an emollient screenwriting need to split the difference between the Irish avenger-hero and his enemies.
    • 86 Metascore
    • 100 Peter Bradshaw
    I would have loved to hear a discussion on a wider range of issues, particularly #TimesUp, but with a film this much fun, it seems churlish to ask for anything else.

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