Peter Bradshaw

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The Guardian
For 2,850 reviews, this critic has graded:
  • 44% higher than the average critic
  • 3% same as the average critic
  • 53% lower than the average critic
On average, this critic grades 0.9 points higher than other critics. (0-100 point scale)

Peter Bradshaw's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Fatherland
Lowest review score: 20 Red Dawn
Score distribution:
  1. Positive: 1,315 out of 2850
  2. Mixed: 1,403 out of 2850
  3. Negative: 132 out of 2850
2850 movie reviews
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    • 98 Metascore
    • 100 Peter Bradshaw
    Rashomon
    Akira Kurosawa's 1950 masterwork is a chilling, utterly memorable dissection of the nature of human communication.
    • 74 Metascore
    • 100 Peter Bradshaw
    Calamity Jane
    The tunes are gold, and as Jane approaches a local creek, resplendent in her gorgeous yellow gown, we get one of the most famous visual gags in the history of the musical.
    • 93 Metascore
    • 100 Peter Bradshaw
    8½
    It exerts an irresistible pull.
    • 93 Metascore
    • 100 Peter Bradshaw
    There Will Be Blood
    This is a dark, uncompromising film, thrillingly original and distinctive, with a visionary passion. It is a movie against which all directors, and all moviegoers, will want to measure themselves.
    • 86 Metascore
    • 100 Peter Bradshaw
    I Know Where I'm Going!
    The happiness and innocence in this film are beyond compare.
    • 97 Metascore
    • 100 Peter Bradshaw
    Quo Vadis, Aida?
    There’s a real tragic power in this almost unbearably brutal and shocking movie from writer-director Jasmila Žbanić.
    • 76 Metascore
    • 100 Peter Bradshaw
    mother!
    As horror it is ridiculous, as comedy it is startling and hilarious, and as a machine for freaking you out it is a thing of wonder.
    • 68 Metascore
    • 100 Peter Bradshaw
    The Hateful Eight
    Tarantino has created another breathtakingly stylish and clever film, a Jacobean western, intimate yet somehow weirdly colossal, once again releasing his own kind of unwholesome crazy-funny-violent nitrous oxide into the cinema auditorium for us all to inhale.
    • 64 Metascore
    • 100 Peter Bradshaw
    Napoleon
    Phoenix is the key to it all: a performance as robust as the glass of burgundy he knocks back: preening, brooding, seething and triumphing.
    • 92 Metascore
    • 100 Peter Bradshaw
    The Act of Killing
    It is a gut-churning film: and a radical dive into history, grabbing the past in a way a conventional documentary would not.
    • 96 Metascore
    • 100 Peter Bradshaw
    Spirited Away
    Spirited Away is fast and funny; it's weird and wonderful. Mostly wonderful.
    • 82 Metascore
    • 100 Peter Bradshaw
    The Northman
    The Northman is a horribly violent, nihilistic and chaotic story about the endless cycle of violence, the choice between loving your friends and hating your enemies – which turns out to be no choice at all, and the thread of fate down which masculinity’s delicious toxin drips. It’s entirely outrageous, with some epic visions of the flaring cosmos. I couldn’t look away.
    • 88 Metascore
    • 100 Peter Bradshaw
    A Star Is Born
    For one star to get an award, a handful of defeated nominees have to swallow their pain, as the spotlight moves away from them. For one star to deliver the shock of the new, another one has to receive the shock of the old. A Star Is Born turns that transaction into a love story.
    • 84 Metascore
    • 100 Peter Bradshaw
    BPM (Beats Per Minute)
    This film has what its title implies: a heartbeat. It is full of cinematic life.
    • 80 Metascore
    • 100 Peter Bradshaw
    Berberian Sound Studio
    Utterly distinctive and all but unclassifiable, a musique concrète nightmare, a psycho-metaphysical implosion of anxiety, with strange-tasting traces of black comedy and movie-buff riffs. It is seriously weird and seriously good.
    • 92 Metascore
    • 100 Peter Bradshaw
    Leviathan
    Leviathan is acted and directed with unflinching ambition, moving with deliberative slowness and periodically accelerating at moments of high drama and suspense. It isn't afraid of massive symbolic moments and operatic gestures.
    • 87 Metascore
    • 100 Peter Bradshaw
    Mulholland Dr.
    Mulholland Drive is as brilliant and disquieting as anything Lynch has ever done. It is psychotically lucid, oppressively strange, but with a powerfully erotic and humanly intimate dimension that Lynch never quite achieved elsewhere. It is a fantasia of illusion and identity, a meditation on the mystery of casting in art as in life: the vital importance of finding the right role.
    • 88 Metascore
    • 100 Peter Bradshaw
    Leave No Trace
    It’s a movie that will live with me for a long time.
    • 72 Metascore
    • 100 Peter Bradshaw
    Happy End
    It is not a new direction for this film-maker, admittedly, but an existing direction pursued with the same dazzling inspiration as ever. It is also as gripping as a satanically inspired soap opera, a dynasty of lost souls.
    • 82 Metascore
    • 100 Peter Bradshaw
    Dear Comrades!
    It is a passionate drama of fear and rage.
    • 76 Metascore
    • 100 Peter Bradshaw
    The Revenant
    What is so distinctive about this Iñárritu picture is its unitary control and its fluency: no matter how extended, the film’s tense story is under the director’s complete control and he unspools great meandering, bravura travelling shots to tell it: not dissimilar, in some ways, to his previous picture, Birdman. The movie is as thrilling and painful as a sheet of ice held to the skin.
    • 87 Metascore
    • 100 Peter Bradshaw
    The Death of Mr. Lazarescu
    Part of the film's brilliance is its stunning and unforgiving transmission of the great truth that for most of us, death is not a single, flatline moment, but a gradual, insidious process of deterioration.
    • 95 Metascore
    • 100 Peter Bradshaw
    Pulp Fiction
    In 1994, all the talk was of former video store clerk Tarantino's indifference to traditional culture. That patronised his sophisticated cinephilia, and in fact, twenty years on, the writerly influences of Edward Bunker, Elmore Leonard, and Jim Thompson seem very prominent. Don DeLillo began the '90s by warning that the U.S. is the only country in the world with funny violence. Maybe Pulp Fiction was the kind of thing he had in mind. Unmissable.
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