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Peter Gray
Tomatometer-approved critic
Peter began his freelance writing career in 2010 with QNews, one of Australia's top-rated LGBT-friendly magazines. Biding his time between film reviews and entertainment reports and interviews, his freelance career has grown to include a multitude of outlets based across Australia (The AU Review, This Is Film, Brisbanista) covering weekly film releases and national events and premieres.
Movies reviews only
| Rating | T-Meter | Title | Year | Review |
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Borderlands (2024) |
Marred by borrowed ideas and uninspired execution, Borderlands squanders any and all of its potential. - Cinefied
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| Posted Aug 09, 2024
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It Ends With Us (2024) |
It can’t be denied that the audience that made [Colleen] Hoover’s initial words such a success are likely to lap up such mawkishness, but there’s a deeper, darker iteration of this story that could – and should – be told. - The AU Review
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| Posted Aug 07, 2024
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Detained (2024) |
Banks a lot of its narrative on coincidence, and it certainly asks a lot of its audience, but the confidence it has in gradually accepting its own ruthlessness allows this single-location thriller to elevate beyond its clear limitations. - The AU Review
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| Posted Aug 02, 2024
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The Girl in the Pool (2024) |
If ever a film leaned into being so bad it’s good, this is certainly a contender. - The AU Review
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| Posted Aug 01, 2024
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Trap (2024) |
A tighter pace and a clearer vision could have truly elevated this Hitchcockian-like thriller, but, ultimately, it’s one set up that doesn’t quite snare the intended interest. - The AU Review
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| Posted Aug 01, 2024
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Deadpool & Wolverine (2024) |
Undeniably crowd pleasing for the right audience, Deadpool & Wolverine caters to its fanbase and, in that regard, emerges truly victorious. - The AU Review
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| Posted Jul 23, 2024
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The Way We Speak (2024) |
A talky, compelling drama that speaks to the power of one’s conviction in their beliefs and, more importantly, respecting another’s differing opinion. - The AU Review
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| Posted Jul 23, 2024
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Longlegs (2024) |
Longlegs indulges in its rejection of mainstream pandering. It’s consciously structured to build anxiety with those that surrender to its nightmarish, passive mentality. - The AU Review
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| Posted Jul 23, 2024
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Twisters (2024) |
Truly a crowd-pleasing event, [Lee Isaac] Chung’s at once thoughtful and bombastic actioner is one that demands big screen attendance. - The AU Review
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| Posted Jul 10, 2024
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Fly Me to the Moon (2024) |
A supremely delightful and old-fashioned comedy that brings to mind the screwball genre pieces of Doris Day and Rock Hudson in their prime. - The AU Review
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| Posted Jul 09, 2024
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MaXXXine (2024) |
[Ti] West’s love of the genre and how he has created such distinct personalities across one series should be celebrated, as too should the illustriousness of [Mia] Goth, who, once again, commits wholeheartedly to the bloody cause around her. - The AU Review
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| Posted Jul 09, 2024
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Beverly Hills Cop: Axel F (2024) |
A fourth go around that hopes to both undo any of the negative taste left from its predecessor and remind us as to why Murphy is considered such a giant in the comedy field. - The AU Review
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| Posted Jul 02, 2024
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The Bikeriders (2023) |
Comer, Hardy and Butler are dynamite to watch, and as much as the film bathes in its virility, it’s the more tender moments of The Vandals and their friendship that help paint a more honest portrait of American masculinity. - The AU Review
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| Posted Jul 01, 2024
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The Unexpecteds (2024) |
A scrappy caper comedy that undoubtedly needs some sharpening around the edges, but ultimately wins out with undeniable charm. - The AU Review
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| Posted Jun 21, 2024
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Restless (2024) |
The basic narrative at the core of Restless [...] is perhaps one of the most relatable, and it’s because of that potential familiarity that Jed Hart‘s dread-drenched thriller is all the more chilling. - The AU Review
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| Posted Jun 17, 2024
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Darkest Miriam (2024) |
There’s a subtlety and quietness to Darkest Miriam that continually laces this sad, yet captivating drama, with Britt Lower‘s haunting central performance adding a poetry to proceedings that beautifully captures those watching. - The AU Review
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| Posted Jun 15, 2024
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The Exorcism (2024) |
More a dramatic character study, with many of the horrific elements feeling a little shoehorned for the benefit of mainstream audiences needing a scare to keep them invested. - The AU Review
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| Posted Jun 15, 2024
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Daddio (2023) |
It’s awkwardly comical, subdued in its revealed tragedy, and, ultimately, lovingly tender. - The AU Review
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| Posted Jun 15, 2024
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The Outrun (2024) |
[Nora] Fingscheidt isn’t reinventing the dramatic wheel, but she steers it with an honesty, treating its subject of recovery with a soulfulness that people battling such should find nourishing. - The AU Review
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| Posted Jun 15, 2024
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Bang Bang (2024) |
As beautiful as it is bleak, Bang Bang is a healthy reminder of [Tim Blake] Nelson’s status as one of our finest character actors. - The AU Review
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| Posted Jun 15, 2024
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A Different Man (2024) |
There’s plenty of thought to be provoked here, but with A Different Man unable to quite polish its narrative, Schimberg’s idea comes off less profound than it deserves. - The AU Review
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| Posted Jun 12, 2024
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My Old Ass (2024) |
Megan Park‘s deliriously sweet, always charming, oft-hilarious venture is, at its core, an uncomplicated affair that simply wants to make its audience smile (and, likely, cry) - The AU Review
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| Posted Jun 12, 2024
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Problemista (2023) |
There’s a lot of promise and potential present in Problemista, and if Torres gets the opportunity to flex his imagination again, a slightly more streamlined execution could really solidify him as the abstract storyteller he so clearly is. - The AU Review
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| Posted Jun 12, 2024
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Kinds of Kindness (2024) |
A 164-minute blackly comic, absurdist, and boundary-pushing surrealist drama that makes his previous oddity, last year’s award-winning Poor Things, practically child’s play in comparison. - The AU Review
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| Posted Jun 11, 2024
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Hit Man (2023) |
Some audiences basing their expectations off an action-adjacent title and the imagery of multiple Powells in various costumed form may need to be checked, as Linklater’s take on the genre is ultimately moonlighting as something deeper. - The AU Review
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| Posted Jun 07, 2024
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The Watchers (2024) |
There’s a lack of ultimate sinisterness to the titular characters that undoes so much of the suggested brutality and voyeurism the first half of the film lays down - The AU Review
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| Posted Jun 05, 2024
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I Used to be Funny (2023) |
Offsets its lead’s comedic capabilities and humorously-adjacent title with a dark, heartbreaking temperament. - The AU Review
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| Posted Jun 05, 2024
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Bad Boys: Ride or Die (2024) |
Rather than begrudge the film for its evident faults, it’s easier to embrace Ride or Die for the unbridled genre fun it adheres to. - The AU Review
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| Posted Jun 04, 2024
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The Garfield Movie (2024) |
If you're not even making kids laugh, arguably the easiest audience to entertain when it comes to animation, what’s even the point? - The AU Review
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| Posted May 29, 2024
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Night Shift (2023) |
[Phoebe] Tonkin’s unwavering commitment and the uncertainty of what (or who) we can trust keeps the film from ever succumbing to its own ambition. - The AU Review
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| Posted May 22, 2024
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IF (2024) |
Had there been a stronger sense of imagination – ironic – and a more structured narrative, IF could have truly been the whimsical experience Krasinski so clearly believes he’s created. - The AU Review
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| Posted May 17, 2024
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Furiosa: A Mad Max Saga (2024) |
The scale of Miller’s imagination is truly awe-inspiring, and, again, the world building on hand feels intimately thoughtful, despite its extended, hellish mentality. - The AU Review
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| Posted May 15, 2024
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Demise (2023) |
Subtlety is disregarded and melodrama is heightened, making for one helluva wild time. - The AU Review
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| Posted May 08, 2024
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The Rooster (2023) |
Navigates its meditation on masculinity with dark humour and uncomfortable fragility - The AU Review
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| Posted May 08, 2024
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Boy Kills World (2023) |
A delirious slice of escapism that deserves points for the fact that it’s a bonkers, live-action (R-rated) cartoon that speaks to its director’s unique vision. - The AU Review
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| Posted May 01, 2024
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The Fall Guy (2024) |
However unchallenging it proves for Gosling and Blunt, there’s no denying how much fun there is to be had in watching two absolute masters of charisma and craft bounce about in a serviceably jolly genre piece. - The AU Review
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| Posted Apr 24, 2024
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The Raid: Redemption (2011) |
Immensely fresh in that it truly feels like a film that will harm you at any given moment. - The AU Review
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| Posted Apr 24, 2024
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Sting (2024) |
An occasionally unbalanced, but no less enjoyably camp horror effort that backs its gross effects with some emotional heft. - The AU Review
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| Posted Apr 24, 2024
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Abigail (2024) |
Heads roll, bodies explode, and [Melissa] Barrera continues to powerfully embody the “final girl” figure with a distinct strength and rejection of the atypical formation of such a pattern. - The AU Review
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| Posted Apr 18, 2024
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Challengers (2024) |
It’s indulgent and likely to divide those unprepared for its animalistic personality, but there’s no denying Challengers serves itself up as one of this year’s true cinematic winners. - The AU Review
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| Posted Apr 18, 2024
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Arcadian (2024) |
There’s a less-is-more approach initially to Arcadian that works in the film’s favour. - The AU Review
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| Posted Apr 18, 2024
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Robot Dreams (2023) |
A beautiful, intricate tale that creates a relatable, lived-in atmosphere despite its fantastical base. - The AU Review
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| Posted Apr 18, 2024
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Back to Black (2024) |
It’s all too easy to quote Ms Winehouse herself, but when asked if they should make this movie, all involved should have said “No, no, no.” - The AU Review
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| Posted Apr 18, 2024
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Origin (2023) |
In a sea of showier films, audiences seeking genuine stimulation and proof that there’s always something ready to watch at the cinemas best look to something like Origin for their answer. - The AU Review
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| Posted Apr 18, 2024
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Civil War (2024) |
This film will undoubtedly give rise to debates, and there’s no taking away that there’s an impact here, however one views it. - The AU Review
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| Posted Apr 18, 2024
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Monkey Man (2024) |
The emotional and psychological weight of Monkey Man measures just as laboriously as its physical. - The AU Review
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| Posted Apr 04, 2024
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Io Capitano (2023) |
It’s the beauty of [Seydou] Sarr’s performance that sells us, and secures us, on [Matteo] Garrone’s storytelling decisions. - The AU Review
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| Posted Mar 27, 2024
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Godzilla x Kong: The New Empire (2024) |
If viewed as a type of homage to 1980s tentpole cheese, where everything plus the kitchen sink is thrown on the screen, this battle for domination, one that threatens the very existence of Godzilla and Kong, proves mindless fun. - The AU Review
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| Posted Mar 27, 2024
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Immaculate (2024) |
Whilst the shock value of the film’s climax is what is likely to earn audience reaction, it’s Sweeney’s performance that should stay with you long after her gut-wrenching scream has echoed off the screen - The AU Review
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| Posted Mar 21, 2024
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Wicked Little Letters (2023) |
Sensitive ears may indeed find this wicked, but you’d be hard pressed to find a more satisfying use of blasphemy than how it’s utilised here. - The AU Review
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| Posted Mar 21, 2024
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