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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    • 61 Metascore
    • 38 Peter Debruge
    The Machinist
    Director Brad Anderson (Session 9) overtly cribs from everyone from Dostoevsky to Kafka.
    • 42 Metascore
    • 25 Peter Debruge
    Barnyard
    Loud, sophomoric and stunningly crude.
    • 26 Metascore
    • 38 Peter Debruge
    Supercross
    For anyone who digs hardcore motorcycle racing, Supercross delivers enough engine-revving, dirt-spewing motorcross action to satisfy even the most intense adrenaline craving.
    • 82 Metascore
    • 30 Peter Debruge
    The Last Black Man in San Francisco
    While Talbot and Fails claim to have walk-and-talked their way all over San Francisco, the script — and especially the dialogue — is the most disappointing element of their first feature.
    • 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.
    • 44 Metascore
    • 25 Peter Debruge
    The Wendell Baker Story
    Movies in which the same person serves as writer, director, and star should carry a special warning for audiences, even if that individual happens to be an actor as endearing as Luke Wilson.
    • 78 Metascore
    • 30 Peter Debruge
    Sorry to Bother You
    Paradoxically, the more ridiculous Riley’s gonzo social critique gets, the more boring it becomes, to the point that its out-of-control second half starts to feel like some kind of bad trip.
    • 46 Metascore
    • 20 Peter Debruge
    Bigbug
    The result is an aggressively unfunny look at human-robot relations in a garish, cartoonishly rendered future.
    • 45 Metascore
    • 0 Peter Debruge
    Pretty Persuasion
    There's enough estrogen gone awry in this bitchy teen comedy to make "Mean Girls" look like a Disney after-school special.
    • 31 Metascore
    • 20 Peter Debruge
    Absolutely Anything
    It’s devastating to think how far Jones has fallen in the four decades since “Holy Grail,” in which he got more laughs banging a few coconuts together than he musters from his entire movie.
    • 75 Metascore
    • 38 Peter Debruge
    The Chronicles of Narnia: The Lion, the Witch and the Wardrobe
    The movie is a leaden, slow-moving beast.
    • 26 Metascore
    • 30 Peter Debruge
    Isabelle
    Isabelle is curiously old-fashioned and not at all original enough to distinguish itself in American release.
    • 46 Metascore
    • 38 Peter Debruge
    The Ringer
    Instead of watching a professional actor pretending to be intellectually disabled, we're watching a jackass pretending to be a dimwit pretending to be intellectually disabled.
    • 47 Metascore
    • 38 Peter Debruge
    The Alamo
    The studio wimped out, and the result is a lesser production on every level: talent, script, content, and purpose.
    • 21 Metascore
    • 10 Peter Debruge
    Geostorm
    The only thing more reliable than bad weather is bad movies, and in that respect, Geostorm is right on forecast.
    • 37 Metascore
    • 38 Peter Debruge
    The United States of Leland
    Absence of motive makes the movie provocative; the explanation renders it irrelevant and defuses any interesting debate the film might have inspired.
    • 70 Metascore
    • 38 Peter Debruge
    Year of the Dog
    In Year of the Dog, director Mike White willfully violates one of the great unwritten rules of Hollywood screenwriting: Kill as many human characters as you want, just spare the dog.
    • 31 Metascore
    • 38 Peter Debruge
    House of 1000 Corpses
    Zombie's film plays more like an experimental pastiche than an outright homage to those classic road-trip-gone-wrong movies.
    • 37 Metascore
    • 38 Peter Debruge
    Haven
    Flowers' ''style'' suffers from attention deficit disorder, leaving just enough vital information for you to follow the convoluted plot. But just when one story gets rolling, he's off and chasing another.
    • 51 Metascore
    • 30 Peter Debruge
    Parkland
    Granted, Landesman feels an obligation to history, but there’s something ponderously obvious about the way so many of these scenes are played.
    • 65 Metascore
    • 38 Peter Debruge
    The Legend of Leigh Bowery
    At best, this movie functions as a brief companion piece to Boy George's new Broadway show, “Taboo.”
    • 65 Metascore
    • 20 Peter Debruge
    The Dirties
    This sloppy, button-pushing black comedy reveals a crew desperately in need of counseling — less in anger management than in the fundamentals of screenwriting, camerawork and structure.
    • 65 Metascore
    • 30 Peter Debruge
    Bull
    A disappointment ... The story feels lean, and most of the cast, while convincing, don’t leap off the screen the way the ensemble in an Andrea Arnold movie does.
    • 65 Metascore
    • 30 Peter Debruge
    Ride Your Wave
    Sooner or later, Hinako is going to have to learn to face the world on her own, which is where the tension finally arises before this dopey film reaches its sappy conclusion — by showing its heroine, so effortless on water, “learning to ride life’s waves, too.”
    • 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.
    • 61 Metascore
    • 38 Peter Debruge
    Meet the Robinsons
    The characters, starting with Lewis himself, are downright obnoxious. Not counting those singing frogs or the time-traveling T. rex (with its big head and little arms), only Lewis' sad-sack roommate ''Goob'' is remotely sympathetic.
    • 37 Metascore
    • 0 Peter Debruge
    Another Gay Movie
    A devastating disappointment. Badly acted, amateurishly directed and woefully unfunny.
    • 61 Metascore
    • 38 Peter Debruge
    Ladrón que roba a ladrón
    There's nothing so artistic about it as to attract the same art-house crowd that braved subtitles to discover "Nine Queens," and yet, it's professional enough that Spanish speakers will be glad to have a heist movie on par with "Rush Hour 3" or "The Pacifier" made in their native tongue.
    • 60 Metascore
    • 30 Peter Debruge
    Smallfoot
    It’s messy and distressingly unmemorable, which is a shame since there are no shortage of great Looney Tunes-level cartoon gags wasted along the way, including an ingenious rope bridge sequence worthy of golden-age Warner Bros. animation.
    • 59 Metascore
    • 20 Peter Debruge
    All Is True
    The result is a revisionist fiasco, too dense with Shakespeare allusions for casual moviegoers, and too fast and loose with the facts for those who know a thing or two about the man. In short, All Is True takes the English language’s most gifted dramatist and reduces his sunset years to a sloppy soap opera.
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