Peter Travers

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For 3,046 reviews, this critic has graded:
  • 61% higher than the average critic
  • 3% same as the average critic
  • 36% lower than the average critic
On average, this critic grades 2.2 points higher than other critics. (0-100 point scale)

Peter Travers' Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Mystic River
Lowest review score: 0 Transformers: The Last Knight
Score distribution:
3046 movie reviews
    • 71 Metascore
    • 80 Peter Travers
    At first glance, you might mistake What They Had for one of those well-meaning family dramas about what to do when your mom is diagnosed with Alzheimer’s. But that would discount the exceptional accomplishment achieved by debuting director Elizabeth Chomko, enlivening her scrappy script with a cast of actors who truly are as good as it gets. You laugh as much as you cry, which means you believe in the movie’s truth.
    • 87 Metascore
    • 80 Peter Travers
    Melissa McCarthy is a lock for a Best Actress Oscar nomination for Can You Ever Forgive Me?
    • 82 Metascore
    • 80 Peter Travers
    In a beautifully nuanced directing debut, actor Paul Dano mines the smallest details in Richard Ford’s acclaimed 1990 novel — he and his partner Zoe Kazan wrote the emotionally-attuned script — to create a portrait of a woman who can’t quite catch up with the frustration and feminist stirrings she feels inside.
    • 68 Metascore
    • 70 Peter Travers
    Near the end, Hill boxes himself into a sentimental corner that takes a little off the film’s edge. But before that, Mid90s bristles with fun, feeling and the exhilaration that comes with risking life’s hairpin turns.
    • 68 Metascore
    • 80 Peter Travers
    That Green’s sequel works as well as it does — it’s still a slasher movie — is due only in part to the director and his collaborators’ copycat admiration for Carpenter’s blueprint. Mostly it’s the troubled times we live in that allows this energizing, elemental horror film to touch a raw nerve for #MeToo.
    • 76 Metascore
    • 70 Peter Travers
    The art that The Kindergarten Teacher is scanning can be found in Gyllenhaal’s eyes, hungry for a life of the mind and one starved of meaning. Jimmy is not the only one who has something to say. For the filmmaker and her star, this movie is their poem.
    • 64 Metascore
    • 70 Peter Travers
    A sense of injustice runs like a toxic river through Everett’s film, an affront to homophobia through the ages, even our enlightened one. In the end, The Happy Prince makes its strongest mark as a heartfelt salute to Wilde from an actor and filmmaker who was born to play him.
    • 69 Metascore
    • 70 Peter Travers
    There’s no doubting its power. This film will take a piece out of you.
    • 60 Metascore
    • 60 Peter Travers
    Here’s the thing about Bad Times at the El Royale: When it’s good, it’s very, very good — and when it’s bad, this retro whatsit is a whole lot of awful.
    • 63 Metascore
    • 70 Peter Travers
    It’s a tough, achingly tender film that refuses to trade in false hopes or cheap sentiment. That truth is what makes Beautiful Boy hard to take and impossible to forget.
    • 84 Metascore
    • 90 Peter Travers
    Concentrate on the abundant factors that make First Man unmissable and unforgettable. There have been astronaut movies before, good (Apollo 13) and better (The Right Stuff). But few have been as much a triumph of the imagination fueled, not by FX but by indelible feeling, as this one.
    • 82 Metascore
    • 80 Peter Travers
    It is impossible to over-praise Stenberg’s incandescent performance, a gathering storm that grows in ferocity and feeling with each scene.
    • 35 Metascore
    • 20 Peter Travers
    This year gave us the best and most imaginative Marvel film in "Black Panther." Now we have the worst.
    • 88 Metascore
    • 90 Peter Travers
    You get pulled into a force field, thanks to Cooper’s behind-the-camera chops and Gaga’s sound and fury. By the time the end credits roll, you realize that, in fact, two stars have been born.
    • 67 Metascore
    • 80 Peter Travers
    Green sometimes hits his points too hard, letting his fierce human drama drift into polemic. But there’s no denying the righteous indignation that fuels Monsters and Men, a powerhouse that couldn’t be more timely or necessary.
    • 79 Metascore
    • 90 Peter Travers
    Sometimes a movie arrives that charms its way into your heart — and The Old Man & the Gun is just such an unassuming, exuberant gift.
    • 43 Metascore
    • 20 Peter Travers
    No matter how much money this clunker makes, this is a movie that never should have happened.
    • 86 Metascore
    • 80 Peter Travers
    It’s delicious — sweet, tart, surprisingly moving and funny as hell.
    • 57 Metascore
    • 60 Peter Travers
    The something extra comes with watching Black and Blanchett match wits, especially the former; he radiates his signature comic moxie with glimmers of the dramatic chops he demonstrated in movies like "Bernie" (2011) and this year’s "Don’t Worry, He Won’t Get Far on Foot."
    • 74 Metascore
    • 80 Peter Travers
    This is the firebrand Colette that Knightley plays with every fiber of her being. She’s something to see.
    • 21 Metascore
    • 0 Peter Travers
    How do you rate a cinematic black hole that doesn’t deserve a single star? Do you simply give it five eyerolls? Better question: How does a movie, with all the talent in the world going for it, become a such a blithering botch job?
    • 78 Metascore
    • 80 Peter Travers
    Audiard recently won the Silver Lion as Best Director at the Venice Film Festival. Watch The Sisters Brothers and you’ll have no trouble understanding why.
    • 69 Metascore
    • 90 Peter Travers
    One of Moore’s best and most incisively funny films — right up there with "Roger & Me" (1989), "Bowling for Columbine" (2002) and "Sicko" (2007) — his latest goes way past taking potshots at the Donald, though it does that with piercing intelligence and wounding wit.
    • 67 Metascore
    • 70 Peter Travers
    Until an ending that flies ruinously off the rails, A Simple Favor is raunchy fun that offers an unexpected take on the twists and turns of female friendship.
    • 51 Metascore
    • 40 Peter Travers
    Even Dinklage and Fanning can’t give this failed experiment a heartbeat. You won’t wish for the end of world while watching I Think We’re Alone Now, just the end of the movie.
    • 62 Metascore
    • 60 Peter Travers
    Thompson never disappoints, nailing every nuance of a judge who lets the world in at the cost of losing her own judgment. This is acting of the highest order.
    • 29 Metascore
    • 20 Peter Travers
    Even if male stars from Neeson to Bruce Willis have been riding the same gravy train for decades, Garner has the talent to make us expect more. She needed support from the filmmakers. But what did she get? A lazy facsimile of the revenge movie she so richly deserved. There’s no reason audiences should accept it.
    • 76 Metascore
    • 80 Peter Travers
    Instead of following biopic blueprints, Hawke directs Blaze like a Foley song: artful, all over the place and possessed of enough blunt truth and aching tenderness to pull you up short.
    • 67 Metascore
    • 70 Peter Travers
    Kudos to Wilson (how has she not won an Emmy for her brilliant work on The Affair?), who builds what seems at first like a peripheral character into the defiant soul of the movie.
    • 46 Metascore
    • 40 Peter Travers
    There’s a simple reason why it’s hard to imagine why anyone, much less everybody, would willingly spend time with Frank and Lindsay in this agonizing endurance test of a movie. They’re no damn fun.

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