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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per page
    • 51 Metascore
    • 38 Peter Debruge
    The Baxter
    As coincidence would have it, Steve Carell's "The 40-Year-Old Virgin" spun comedy gold from a similar idea just last week. Virgin shares not only The Baxter's basic premise, but also two of its key cast members (Paul Rudd and the beautiful Ms. Banks), allowing audiences to see just how much better The Baxter might have been if Showalter had given us some reason to identify with his socially awkward protagonist.
    • 43 Metascore
    • 38 Peter Debruge
    The Princess Diaries 2: Royal Engagement
    Threadbare sequel.
    • 40 Metascore
    • 38 Peter Debruge
    Alexander
    An ambitious disaster, Alexander is the rare historical portrait that leaves you feeling as though you know less about its subject than you did upon entering the theater.
    • 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.
    • 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.
    • 52 Metascore
    • 38 Peter Debruge
    The Protector
    The movie is basically a love story between a man and his elephant, and if viewed as such, it's not nearly as ridiculous as the movie it first appears to be.
    • 46 Metascore
    • 38 Peter Debruge
    Beyond the Sea
    Kevin Spacey is a darn good actor, and he's a pretty good singer to boot. But those traits alone do not excuse the painful experience to be had sitting through Beyond the Sea.
    • 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.
    • 49 Metascore
    • 38 Peter Debruge
    Open Season
    For an inaugural effort, Open Season ain't bad, but the studio shows far more promise with its gee-whiz visuals than it does in the story department.
    • 48 Metascore
    • 38 Peter Debruge
    Chicken Little
    Kids will love it. It feels fresh and original and mildly subversive, but it's all a cover for the filmmakers not having the patience or confidence to put together a real story with a beginning, middle and end.
    • 61 Metascore
    • 38 Peter Debruge
    The Machinist
    Director Brad Anderson (Session 9) overtly cribs from everyone from Dostoevsky to Kafka.
    • 35 Metascore
    • 38 Peter Debruge
    Conversations with God
    The movie itself frustrates by guarding the secret of Walsch's newfound spirituality.
    • 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.”
    • 29 Metascore
    • 38 Peter Debruge
    Civil Brand
    There's no question that Civil Brand has an ambitious premise, but it feels boxed in by the standard prison-movie formula.
    • 38 Metascore
    • 38 Peter Debruge
    Paparazzi
    In the age of reality television, Paparazzi feels desperately out-of-touch, the jaded grousings of an industry burnout.
    • 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.
    • 44 Metascore
    • 38 Peter Debruge
    Rush Hour 3
    If "Casino Royale" and "The Bourne Ultimatum" represent the new breed of 21st century action, then Rush Hour 3 is Stone Age stuff. The movie aims for irreverent, but delivers irrelevant instead. Let's hope the Rush Hour series stalls here.
    • 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.
    • 30 Metascore
    • 38 Peter Debruge
    Waiting...
    The movie is a clumsy and uninspired mess, which is not to say that it's not funny.
    • 42 Metascore
    • 38 Peter Debruge
    The Stepford Wives
    Close is the best and worst thing about the film, delivering a performance that upstages even Christopher Walken (!), taking her over-the-top Cruella de Vil turn to its saccharine-sweet opposite.
    • 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.
    • 30 Metascore
    • 38 Peter Debruge
    The League of Extraordinary Gentlemen
    Despite its preposterous leaps of logic, it somehow still emerges a reasonably entertaining summer blockbuster.
    • 34 Metascore
    • 30 Peter Debruge
    Brain on Fire
    This embarrassingly earnest film — produced by Charlize Theron — argues for the importance of doctors going the extra mile, when textbook diagnoses won’t do.
    • 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.
    • 52 Metascore
    • 30 Peter Debruge
    Like Father
    So, if you like piña coladas, or movies in which severe childhood trauma can be hugged out on an ocean cruise, then you’ll like Like Father. For everyone else, skip the imitation and seek out “Toni Erdmann” instead.
    • 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.
    • 56 Metascore
    • 30 Peter Debruge
    War Machine
    Everyone has a different idea of what’s funny, but it’s hard to imagine anyone being amused by War Machine, a colossally miscalculated satire.
    • 38 Metascore
    • 30 Peter Debruge
    Midnight Sun
    The trouble isn’t just that Midnight Sun cherry-picks the most poetic elements of a real-world disease to serve its transparently manipulative ends, but that it offers audiences such an unrealistic portrait of romance in the process.
    • 37 Metascore
    • 30 Peter Debruge
    Angel Face
    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.
    • 34 Metascore
    • 30 Peter Debruge
    The Lifeguard
    Lambert brings a forlorn dimension to his seductive young role, but Bell never really convinces as the older woman. Despite flirting with controversy, the actress seems reluctant to plunge fully into potential unlikability, nor does the film quite give her the chance.
    • 26 Metascore
    • 30 Peter Debruge
    Rambo: Last Blood
    Here, it’s the screenwriters, not the cartel, who should be held accountable for conjuring a virginal relative only to violate and degrade her.
    • 25 Metascore
    • 30 Peter Debruge
    The Music of Silence
    A toothless ode to a still-living celebrity, it’s a film that may appeal to very young children and very old ladies, but seems sure to bore everyone in between.
    • 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.
    • 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.
    • 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.
    • 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.
    • 37 Metascore
    • 30 Peter Debruge
    Only God Forgives
    The wallpaper emotes more than Ryan Gosling does in Only God Forgives, an exercise in supreme style and minimal substance.
    • 38 Metascore
    • 30 Peter Debruge
    Gemini Man
    Gemini Man is a case in which an awful lot of effort has gone into making an awfully lazy action movie.
    • 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.
    • 21 Metascore
    • 30 Peter Debruge
    Sextuplets
    What was novel when Eddie Murphy did it for “The Nutty Professor,” however, feels lazy by comparison here, with hardly enough story to support them, and even though the transformations are impressive, there’s an alarming clumsiness when it comes to Wayans acting against himself.
    • 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.
    • 34 Metascore
    • 30 Peter Debruge
    Baggage Claim
    Chemistry you can fake, but charm is far harder to pull off, and Baggage Claim never quite succeeds on that front.
    • 35 Metascore
    • 30 Peter Debruge
    The Show
    This Is Your Death deeply misunderstands depression, treating suicide as a convenient device for its pea-brained premise.
    • 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.
    • 42 Metascore
    • 30 Peter Debruge
    Mister America
    The movie amounts to a few weak gags stretched out to feature length.
    • 19 Metascore
    • 30 Peter Debruge
    Kite
    At the very least, Kite could have given Jackson some scenery to chew.
    • 30 Metascore
    • 30 Peter Debruge
    The Texas Chainsaw Massacre: The Beginning
    Liebesman hews close to the 2003 pic’s bile-tinged snuff-film aesthetic. His approach falls somewhere between the overwrought sadism of the “Saw” series and the giddy gore-for-gore’s-sake energy of “The Devil’s Rejects,” sharing those films’ twisted notion that today’s auds are willing to embrace such homicidal maniacs as heroes.
    • 48 Metascore
    • 30 Peter Debruge
    The Counselor
    The script is nearly all dialogue, including several eloquent spoken passages toward the end, but it’s a lousy story, ineptly constructed and rendered far too difficult to follow.
    • 28 Metascore
    • 30 Peter Debruge
    The Death and Life of John F. Donovan
    What could have been a powerful ode to the impact that movies have in shaping our identities — and by extension, the reason broken people are drawn to the profession, through which they hope to reach others like themselves — becomes an over-the-top celebration of Dolan himself.
    • 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.
    • 39 Metascore
    • 30 Peter Debruge
    Krystal
    Though Macy is an odd fit to direct (coming at the talky script like it was a madcap piece of theater), the wonky tone is all screenwriter Will Aldis’ invention.
    • 26 Metascore
    • 30 Peter Debruge
    Isabelle
    Isabelle is curiously old-fashioned and not at all original enough to distinguish itself in American release.
    • 29 Metascore
    • 30 Peter Debruge
    The Red Sea Diving Resort
    American audiences typically adore “white savior movies,” but this one pushes the stereotype to such an extreme ... it’s impossible to ignore how badly the film marginalizes the courageous Ethiopian refugees about whom it purports to care so deeply.
    • 51 Metascore
    • 30 Peter Debruge
    21 Years: Richard Linklater
    21 Years: Richard Linklater makes for a disappointingly hollow hagiography: gushy, superficial and strangely overdue — arriving significantly later than its title prescribes.
    • 40 Metascore
    • 30 Peter Debruge
    Message from the King
    It’s a dark and all-around unpleasant journey to take.
    • 47 Metascore
    • 30 Peter Debruge
    Railroad Tigers
    You know things are getting bad when an instantly forgettable, nearly impossible-to-follow, Chinese-language action movie manages to score a U.S. release simply because of Chan’s involvement.
    • 57 Metascore
    • 30 Peter Debruge
    Our Friend
    So much of the unpleasantness has been scrubbed from the picture, until what remains is precisely the kind of dishonest, sanitized no-help-to-anyone TV-movie version of death that inspired Teague to set the record straight in the first place.
    • 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.
    • 35 Metascore
    • 30 Peter Debruge
    Paris Countdown
    This been-there-done-that story marks a pretty banal debut for writer-director Alain Marie, who seems far more interested in aping Refn and early-career Michael Mann than in finding his own style.
    • 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.
    • 35 Metascore
    • 30 Peter Debruge
    Shield of Straw
    Even the hackiest of Hollywood writers would have known how to fix its considerable script problems.
    • 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.
    • 50 Metascore
    • 30 Peter Debruge
    The Greatest Hits
    “The Greatest Hits” feels like the remainder-bin version of better love stories.
    • 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.
    • 36 Metascore
    • 30 Peter Debruge
    Lucy in the Sky
    Distractingly over-directed ... [Hawley] triple-knots his own shoelaces here, stumbling over cumbersome metaphors (butterflies, floating) and high-concept solutions to straightforward dramatic problems when he should have just entrusted his leading lady to carry the narrative.
    • 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.
    • 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).
    • 48 Metascore
    • 30 Peter Debruge
    Paris Can Wait
    The trouble with Paris Can Wait — apart from the sheer agony of being trapped with two insufferable characters as they sample gorgeously photographed food and wine that we can’t taste — is the way the movie seems so willing to let its leading lady be defined by her husband’s job.
    • 37 Metascore
    • 30 Peter Debruge
    Dilili in Paris
    In its native France, “Dilili” was released in stereoscopic 3D, which may have helped things look less wooden, but it feels as if the director stuck to a style that works well in silhouette — where characters typically appeal in profile, and bend only at elbow, knee and waist. In any case, it hurts the brain, which is clearly the opposite of what Ocelot intended.
    • tbd Metascore
    • 30 Peter Debruge
    The Duel
    The movie looks sharp enough, but lands like a rapier with a cork on it.
    • 34 Metascore
    • 30 Peter Debruge
    Jellyfish Eyes
    By second-guessing what audiences want, Murakami falls into the same trap studios do when trying to appease mass tastes, delivering a film that features many of his familiar designs and characters but precious little in the way of personal vision.
    • 28 Metascore
    • 30 Peter Debruge
    Zeroville
    Franco has a truly radical streak in him, and considering how poorly the movie functions as a traditional crowdpleaser, he might as well have gone all out and pushed Zeroville to whatever event horizon the deranged project called for. His mistake wasn’t trying to adapt Erickson’s novel at all, but attempting to turn it into a tragic romance between Vikar and Soledad.
    • 21 Metascore
    • 30 Peter Debruge
    The Clapper
    The movie is not entirely without charm — although it’s safe to say, it’s mostly without charm. In fact, the movie has so little charm to offer that it borders on insipid.
    • 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.
    • 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.”
    • 21 Metascore
    • 30 Peter Debruge
    The Angriest Man in Brooklyn
    Though much of the script borders on unbearable, compounded by “Juno” composer Mateo Messina’s tell-you-how-to-feel score, writer Daniel Taplitz manages to sneak in some poignant self-help aphorisms here and there.
    • 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.
    • 44 Metascore
    • 30 Peter Debruge
    Unicorn Store
    There’s a serious mismatch between the personality of Samantha McIntyre’s script (which seems to be written as a kooky, do-it-yourself comedy, à la “Being John Malkovich” or “Napoleon Dynamite”) and Larson’s directing style, which feels entirely incompatible with whimsy.
    • 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.
    • 38 Metascore
    • 30 Peter Debruge
    Sweetwater
    Fancy-sounding dialogue and handsome widescreen lensing goes only so far to disguise the shallowness of the underlying material.
    • 51 Metascore
    • 30 Peter Debruge
    Woman in Gold
    This is manufactured sentiment, less interested in provoking thought than in manipulating emotion, constructed of human obstacles overcome, stirring speeches delivered and heart-rending flashbacks unveiled, all suspended like so much Spam in the jelly of its own score.
    • 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.
    • 50 Metascore
    • 30 Peter Debruge
    My Life Directed by Nicolas Winding Refn
    Though billed as a documentary, this 59-minute doodle barely rises above homemovie status.
    • 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.
    • 38 Metascore
    • 30 Peter Debruge
    Tulip Fever
    Not only is there nothing presently in the zeitgeist to which to peg such a story (except perhaps the Dane DeHaan-Cara Delevingne reunion nobody asked for, shot before “Valerian” and shelved for nearly a year), but the entire package has a curiously old-fashioned feel — and not just because it takes place 380 years ago.
    • 43 Metascore
    • 30 Peter Debruge
    Maleficent: Mistress of Evil
    If America goes to war sometime in the next year, pundits will have a field day with this movie. But barring that, it’s just another ugly, unpleasant slog through a disposable fantasy universe. The true Disney villains in this case are off screen, sabotaging the studio’s canon from within.
    • 30 Metascore
    • 30 Peter Debruge
    Seventh Son
    Given the fine past work of its many parents, there was clearly potential here, but as delivered, Seventh Son amounts to nothing short of a creative miscarriage.
    • 30 Metascore
    • 25 Peter Debruge
    The Pacifier
    Diesel valiantly but unsuccessfully tries to raise this inane bit of Mr. Mommery above its afternoon-special standing.
    • 44 Metascore
    • 25 Peter Debruge
    The Ring Two
    For a horror movie to work, it has to be ABOUT something.
    • 40 Metascore
    • 25 Peter Debruge
    Derailed
    Swedish director Mikael Håfström's Derailed makes "Fatal Attraction" look positively subtle, while mustering none of the nuance or moral complexity (not to mention the sexual chemistry) of "Unfaithful."
    • 45 Metascore
    • 25 Peter Debruge
    Smokin' Aces
    The hyper-stylized violence, for instance, isn't nearly as senseless as the narrative bits in between. And the ''twist'' employs the same sleight-of-hand as "The Usual Suspects."
    • 40 Metascore
    • 25 Peter Debruge
    Illegal Tender
    Illegal Tender is the sort of crime movie in which nothing, not one detail, has been observed from real life; it's composed entirely of fantasies and falsehoods lifted from bad movies and hip-hop videos.
    • 22 Metascore
    • 25 Peter Debruge
    Christmas with the Kranks
    Kranks is the type of grim holiday movie that reminds you of all that is noxious and insincere about the Christmas season and then chases it down with a sickly-sweet reversal
    • 44 Metascore
    • 25 Peter Debruge
    The Libertine
    What is most beguiling about The Libertine is that it allows Wilmot to self-destruct without ever giving us cause to care or relate.
    • 27 Metascore
    • 25 Peter Debruge
    Catwoman
    Berry is giving a performance much too earnest to have been intentionally campy, setting herself up as a veritable shoo-in for this year's "Worst Actress" Razzie. Me-ouch!
    • 46 Metascore
    • 25 Peter Debruge
    Beerfest
    Sober, this kind of material is an acquired taste at best and downright unbearable in stretches. And yet, the movie has the makings of an instant cult classic, sure to grow funnier among its devoted fans with each successive viewing.
    • 47 Metascore
    • 25 Peter Debruge
    The Wild
    Janeane Garofalo is all wrong as the giraffe, whom the animators contort into all manner of weird positions so she can share the frame with pint-size love interest Benny the squirrel (Jim Belushi).
    • 36 Metascore
    • 25 Peter Debruge
    Diary of a Mad Black Woman
    Downright awful.
    • 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.
    • 35 Metascore
    • 25 Peter Debruge
    Stealth
    Stealth is basically the kind of movie a 13-year-old boy given an infinite budget and creative freedom might cook up between Xbox games.
    • 42 Metascore
    • 25 Peter Debruge
    Barnyard
    Loud, sophomoric and stunningly crude.
    • 37 Metascore
    • 20 Peter Debruge
    Fist Fight
    A risible excuse for comedy that treats compulsory education as a joke and violence as a reasonable way to solve problems.
    • 30 Metascore
    • 20 Peter Debruge
    Alex Cross
    The cross-dressing "Madea" star seems out of his depth playing the hard-boiled detective made famous by Morgan Freeman in "Along Came a Spider" and "Kiss the Girls." Even action helmer Rob Cohen ("The Fast and the Furious," "XXX") seems to be off his game here.
    • 33 Metascore
    • 20 Peter Debruge
    The Space Between Us
    If romance-seeking audiences know what’s best for them, they’ll put some space between themselves and this movie.
    • 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.
    • 47 Metascore
    • 20 Peter Debruge
    Interior. Leather Bar.
    A partly authentic, partly scripted behind-the-scenes featurette that never quite conveys the star’s “high/curious” interest in all things taboo.
    • 46 Metascore
    • 20 Peter Debruge
    Bigbug
    The result is an aggressively unfunny look at human-robot relations in a garish, cartoonishly rendered future.
    • 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.
    • 24 Metascore
    • 20 Peter Debruge
    Gotti
    [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.
    • 34 Metascore
    • 20 Peter Debruge
    A Long Way Down
    It’s worse than tacky, trivializing depression for a handful of easy laughs and pop-psychology platitudes.
    • 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.
    • 34 Metascore
    • 20 Peter Debruge
    The Bubble
    Judd Apatow made a movie. A very bad movie.
    • 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.
    • 58 Metascore
    • 20 Peter Debruge
    Somebody Up There Likes Me
    If nonchalance were an Olympic sport, Max would be a gold medalist, and watching Somebody Up There Likes Me is about as much fun as being a spectator at that event might sound.
    • 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.
    • 39 Metascore
    • 20 Peter Debruge
    Dead Man Down
    As Scandi directors go, Niels Arden Oplev couldn’t be hotter. After putting his stamp on “The Girl With the Dragon Tattoo,” the Dane has what appears to be his pick of projects. So why follow it up with such revenge-fantasy dreck as Dead Man Down, a derivative collection of brazen plot holes and latenight-cable cliches into which he drags “Dragon” star Noomi Rapace?
    • 30 Metascore
    • 20 Peter Debruge
    Billionaire Boys Club
    There are no billionaires here, just a lot of testosterone where the movie’s brains ought to be.
    • 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.
    • 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.
    • 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?
    • 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.
    • 24 Metascore
    • 20 Peter Debruge
    The Virtuoso
    Hopkins isn’t awful in The Virtuoso, but the movie that surrounds him is.
    • 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.
    • 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.
    • 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.
    • 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.
    • 23 Metascore
    • 0 Peter Debruge
    Deuce Bigalow: European Gigolo
    The way I see it, anyone who's made up his mind to see Deuce Bigalow: European Gigolo deserves everything they've got coming to them, and with any luck, they might even enjoy the movie's willfully offensive gutter humor.
    • 37 Metascore
    • 0 Peter Debruge
    Another Gay Movie
    A devastating disappointment. Badly acted, amateurishly directed and woefully unfunny.
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