Peter Debruge

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Miami Herald, Premiere, Variety
For 1,770 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 0.1 points higher than other critics. (0-100 point scale)

Peter Debruge's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Josephine
Lowest review score: 0 Deuce Bigalow: European Gigolo
Score distribution:
  1. Positive: 1,028 out of 1770
  2. Mixed: 593 out of 1770
  3. Negative: 149 out of 1770
1770 movie reviews
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    • 6 Metascore
    • 20 Peter Debruge
    War of the Worlds
    When it comes to customer satisfaction, does Amazon’s refund policy apply to stuff like this?
    • 34 Metascore
    • 30 Peter Debruge
    Love Hurts
    Most audiences want action to feel like action, whereas Eusebio makes it look too much like choreography: No matter how dynamic, every fight scene seems rehearsed to within an inch of its life.
    • 38 Metascore
    • 30 Peter Debruge
    Bubble & Squeak
    Not all movies need to serve up profound insights into the human condition, but the ones that don’t should at least be entertaining, and Twohy’s particular strain of absurdism is not just contrived, but deeply unfunny.
    • tbd Metascore
    • 30 Peter Debruge
    The Duel
    The movie looks sharp enough, but lands like a rapier with a cork on it.
    • 50 Metascore
    • 30 Peter Debruge
    The Greatest Hits
    “The Greatest Hits” feels like the remainder-bin version of better love stories.
    • 26 Metascore
    • 20 Peter Debruge
    Madame Web
    Madame Web feels like a cross between an extended soda commercial and a teaser trailer for still more spinoffs.
    • 44 Metascore
    • 20 Peter Debruge
    Pain Hustlers
    Pain Hustlers takes an off-putting mock-documentary approach to this tragedy, focusing on a handful of sleazebag salespeople who bent the rules to incentivize doctors to prescribe Lonafin (the film’s fictional Subsys substitute) first for treating cancer pain, and later for conditions as mild as migraines.
    • 40 Metascore
    • 30 Peter Debruge
    Slumberland
    Slumberland is stronger at conjuring elaborate dream worlds than it is at crafting a satisfying emotional foundation, which is generally true of Lawrence’s past projects as well.
    • 30 Metascore
    • 30 Peter Debruge
    The School for Good and Evil
    Sure, it’s a “Harry Potter” rip-off, but had Feig taken the time to let the film breathe, it might have stood on its own. Unlike Hogwarts, where fresh surprises lay waiting around every corner, this school seems to exist in concept only — and not a particularly good one at that.
    • 54 Metascore
    • 20 Peter Debruge
    Spiderhead
    Kosinski is a gifted director, but his specialty is juggling human elements with complex visual effects. He is not cut out for this kind of comedy. His design choices are all wrong. The execution is tone deaf.
    • 34 Metascore
    • 20 Peter Debruge
    The Bubble
    Judd Apatow made a movie. A very bad movie.
    • 46 Metascore
    • 20 Peter Debruge
    Bigbug
    The result is an aggressively unfunny look at human-robot relations in a garish, cartoonishly rendered future.
    • 49 Metascore
    • 30 Peter Debruge
    Don't Look Up
    Don’t Look Up plays like the leftie answer to “Armageddon” — which is to say, it ditches the Bruckheimer approach of assembling a bunch of blue-collar heroes to rocket out to space and nuke the approaching comet, opting instead to spotlight the apathy, incompetence and financial self-interest of all involved.
    • 52 Metascore
    • 30 Peter Debruge
    Wolf
    A shockingly dull look at a fascinating disorder affecting humans who believe they were born into the wrong species.
    • 49 Metascore
    • 30 Peter Debruge
    Venom: Let There Be Carnage
    Managed (more than directed) by motion-capture star-turned-aspiring blockbuster helmer Andy Serkis, Venom: Let There Be Carnage has all the indications of a slap-dash cash grab. The set-pieces look sloppy, the visual effects are all over the place, and the laughs come largely at the movie’s expense.
    • 25 Metascore
    • 20 Peter Debruge
    The Misfits
    The movie feels like both an advertisement for this posh, ultra-modern oasis and a late-20th-century smear of the people and culture one might expect to find there.
    • 28 Metascore
    • 30 Peter Debruge
    Infinite
    The more you start to nitpick this movie, the more innumerable its plot holes appear, until the whole thing collapses in on itself.
    • 24 Metascore
    • 20 Peter Debruge
    The Virtuoso
    Hopkins isn’t awful in The Virtuoso, but the movie that surrounds him is.
    • 38 Metascore
    • 30 Peter Debruge
    Chaos Walking
    When it comes to confrontations, the movie wimps out, putting more effort into New World-building than in the largely generic characters who populate it.
    • 17 Metascore
    • 30 Peter Debruge
    Sir Billi
    Sir Billi lacks the looks or charm of even the most rudimentary CG offerings being made today, as if not only the animation but also the plot and characters were spat out by off-the-shelf software.
    • 40 Metascore
    • 30 Peter Debruge
    Come Away
    As it is, the film feels simultaneously far too heavy and not at all substantial, a long, slow buildup to something wondrous that never comes.
    • 63 Metascore
    • 30 Peter Debruge
    I'm Your Woman
    This is the kind of movie where the most dynamic thing in every scene is the art direction, followed by the natty retro costumes (which Jean must have used the cash to buy, since she didn’t have time to pack), and only then comes the people.
    • 54 Metascore
    • 30 Peter Debruge
    Joe Bell
    A movie like this would be a good start, if this were 1980. A decade and a half after “Brokeback Mountain,” however, it feels like a huge step backward.
    • 22 Metascore
    • 10 Peter Debruge
    The Tax Collector
    Bloody, barely coherent and about as fun as having your face dragged across asphalt from a moving SUV.
    • 41 Metascore
    • 30 Peter Debruge
    Desperados
    The “raunchy” set-pieces feel like road bumps en route to a too obvious and disappointingly tidy conclusion. Do yourself a favor and spend five minutes — and as many dollars — researching something else to watch instead.
    • 31 Metascore
    • 10 Peter Debruge
    Artemis Fowl
    What a waste. Screenwriters Conor McPherson and Hamish McColl have taken a not-very-good book and turned it into a downright awful movie.
    • 15 Metascore
    • 20 Peter Debruge
    The Last Days of American Crime
    It’s an offensive eyesore in which looting and anarchy are treated as window dressing, law and order come in the form of mind control, and police brutality is so pervasive as to warrant a trigger warning.
    • 22 Metascore
    • 30 Peter Debruge
    Blumhouse's Fantasy Island
    The finished film plays at times like an out-of-control pitch meeting, lurching from one ostensibly clever idea to the next without having taken the trouble to connect the dots, or even to remain consistent with the two simple rules it sets out for itself.
    • 39 Metascore
    • 30 Peter Debruge
    Three Christs
    As audiences, we trust filmmakers to do a reasonably accurate job of representing stories based in truth, and we get angry when they take the kind of liberties Avnet and company allow themselves here. As if it weren’t bad enough that Three Christs were boring, it’s impossible to believe, and for that, there is no cure.
    • 32 Metascore
    • 30 Peter Debruge
    Cats
    Tom Hooper’s outlandishly tacky interpretation seems destined to become one of those once-in-a-blue-moon embarrassments that mars the résumés of great actors (poor Idris Elba, already scarred enough as the villainous Macavity) and trips up the careers of promising newcomers (like ballerina Francesca Hayward, whose wide-eyed, mouth-agape Victoria displays one expression for the entire movie).
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