Peter Debruge

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For 848 reviews, this critic has graded:
  • 54% higher than the average critic
  • 3% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 0.4 points higher than other critics. (0-100 point scale)

Peter Debruge's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Django Unchained
Lowest review score: 0 Deuce Bigalow: European Gigolo
Score distribution:
  1. Negative: 98 out of 848
848 movie reviews
    • tbd Metascore
    • 70 Peter Debruge
    Zoo
    Writer-director Colin McIvor adapts the true-ish story of how a handful of citizens came to the rescue of a baby elephant into an unlikely family film, one that will delight the kids (who see themselves portrayed as heroes) while leaving parents with a lot of explaining to do.
    • 62 Metascore
    • 70 Peter Debruge
    "Soldado” may not be as masterful as Villeneuve’s original, but it sets up a world of possibilities for elaborating on a complex conflict far too rich to be resolved in two hours’ time.
    • 56 Metascore
    • 50 Peter Debruge
    Uncle Drew may be tired, but it shows that one’s fundamental love for the game never gets old.
    • 34 Metascore
    • 30 Peter Debruge
    This embarrassingly earnest film — produced by Charlize Theron — argues for the importance of doctors going the extra mile, when textbook diagnoses won’t do.
    • 56 Metascore
    • 80 Peter Debruge
    Tag
    Tag leaves audiences energized and, dare I say, inspired, having delivered all that outrageousness...in service of what ultimately amounts to a sincere celebration of lasting human connections.
    • 24 Metascore
    • 20 Peter Debruge
    [Travolta's] performance ain’t lousy, but the movie that surrounds it is, and it’s almost laughable to see this iconic star trying so hard on behalf of a project that is so compromised in its intentions.
    • 57 Metascore
    • 50 Peter Debruge
    It boasts snappy dialogue, memorable characters, and a gorgeously designed central location but doesn’t quite know what to do with any of the above.
    • 37 Metascore
    • 50 Peter Debruge
    The trouble is, presenting all of this mayhem within the framework of a by-the-numbers father-daughter bonding story saps the stunts of their usual appeal.
    • 61 Metascore
    • 70 Peter Debruge
    Gonzalez has mastered the art of creating atmosphere and tone, but not tension, and the movie feels meandering and slow at times, since audiences are not invested in anyone’s survival.
    • 72 Metascore
    • 80 Peter Debruge
    For years, “gay movies” were practically a genre unto themselves, neatly conforming to one of three categories: stories about coming out, stories about unrequited love, and stories about the impact of AIDS. “Sorry Angel” succeeds in ticking all three boxes without falling into any one.
    • 71 Metascore
    • 70 Peter Debruge
    These criminals may be out of their league, but Gavras orchestrates it all with a surfeit of style and an irreverent sense of humor that spares no one, no matter their background.
    • 54 Metascore
    • 40 Peter Debruge
    If anything, it’s what the director’s fans most feared: a lumbering, confused, and cacophonous mess
    • 82 Metascore
    • 80 Peter Debruge
    For Lara, dancing matters more than dating, more than anything, and as such, Dhont’s relatively modest film manages to encompass the themes of both “Billy Elliot” and “Tomboy,” and deserves the recognition of both.
    • 37 Metascore
    • 30 Peter Debruge
    Filho obviously wants to convey the naive outlook an impressionable young girl would have on her own situation, but there’s far too much manipulation involved to take her selection of scenes seriously.
    • 89 Metascore
    • 80 Peter Debruge
    The degree to which Burning succeeds will depend largely on one’s capacity to identify with the unspoken but strongly conveyed sense of jealousy and frustration its lower-class protagonist feels, coupled with a need to impose some sense of order on events beyond our control.
    • 75 Metascore
    • 80 Peter Debruge
    Lee’s latest is as much a compelling black empowerment story as it is an electrifying commentary on the problems of African-American representation across more than a century of cinema.
    • 88 Metascore
    • 90 Peter Debruge
    Few films have captured quite so powerfully the tension between the old and new worlds — a feat Birds of Passage accomplishes while simultaneously allowing audiences to channel the Wayuu’s surrealistic view of their surroundings, where spirits walk the earth, and wise women interpret their dreams.
    • 60 Metascore
    • 70 Peter Debruge
    Gibson knows how to play to the camera, and Grunberg is savvy enough to maximize what the star gives, spinning a slick package around the crazy scenario.
    • 62 Metascore
    • 70 Peter Debruge
    In terms of craftsmanship, the film has a scrappy, sometimes cheap look to it (characters look flat, like thin-lined Etch-a-Sketch drawings, superimposed over more colorful hand-painted backgrounds), for which it more than compensates via other strengths — namely, a trio of relatable, well-written human protagonists and Lu, who can change form and bend water at will.
    • tbd Metascore
    • 70 Peter Debruge
    Inspired at least in part by stunts Frizzell pulled when she was her characters’ age, this raucous parade of humiliation and embarrassment packs all the appeal of an outrageous anecdote hilariously retold by someone who can scarcely believe they ever did something so stupid.
    • 67 Metascore
    • 70 Peter Debruge
    Though the film is slow to reach a place where its revelations can have an impact, once that starts to happen, it becomes compulsively absorbing.
    • 82 Metascore
    • 80 Peter Debruge
    Inspired by prize-winning French author Ernest Pérochon’s 1924 novel, director Xavier Beauvois’ emotionally devastating adaptation — which some may find as arduous as the wartime chapter it depicts — dispenses with a fair amount of the suffering to be found in the book, forgoing the contemporary tendency toward gritty, handheld realism in favor of a more timeless, almost painterly aesthetic.
    • 46 Metascore
    • 60 Peter Debruge
    It’s all thoroughly unpleasant, but then, that’s what audiences for this kind of movie want from the experience, so consider it a success of sorts.
    • tbd Metascore
    • 90 Peter Debruge
    Like such trendsetting classics as “Paris Is Burning” and “Rize,” this kaleidoscopically vibrant, essential-viewing survey plunges audiences into a dazzling underground scene, celebrating the endangered art form it finds there.
    • 59 Metascore
    • 50 Peter Debruge
    In a sense, each new take on Chekhov sheds insight on the timelessness of the material, and yet, this one does more to reveal missed opportunities for the next team to explore.
    • 41 Metascore
    • 40 Peter Debruge
    While some gags are funny the first time around, practically everything in The Week Of overstays its welcome.
    • 41 Metascore
    • 40 Peter Debruge
    To rob Mapplethorpe of his controversy is to strip the movie of its dramatic conflict. By doing so, the script (co-written with Mikko Alanne) reduces to a rather banal biopic, reenacting how a scrappy outsider achieved unconventional success.
    • tbd Metascore
    • 70 Peter Debruge
    The movie is much funnier than the vast majority of indie comedies, serving as a great audition piece for a career of sitcom directing.
    • 43 Metascore
    • 40 Peter Debruge
    This film barely scrapes the surface when it comes to conveying everything someone in Vivienne’s shoes might be feeling.
    • 53 Metascore
    • 50 Peter Debruge
    Woman Walks Ahead offers dimension to its leading lady, but holds its Native characters to the same old surface stereotypes. Such a movie is a step in the right direction, but farther behind than it seems to realize.

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