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Peter Gray

Tomatometer-approved critic
Biography:

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.

Reviews

Movies TV Shows
The Pirate King (2026) 3.5/5 EDIT “Deeply human, disarmingly funny, and quietly powerful.” – The AU Review Mar 24, 2026 Full Review Crash Land (2026) 100% 3.5/5 EDIT “It’s a heartfelt, frequently hilarious reminder that sometimes the messiest stories are the ones that resonate the most.” – The AU Review Mar 23, 2026 Full Review Ready or Not 2: Here I Come (2026) 75% 3.5/5 EDIT “If the original was a perfectly aimed dagger, Here I Come is a blood-splattered sledgehammer. Not as precise, but still capable of doing some serious damage.” – The AU Review Mar 19, 2026 Full Review Same Same but Different (2026) 3.5/5 EDIT “The title may promise similarity, but what the film actually delivers is something refreshingly distinct: a cross-cultural comedy that finds both its laughs and its warmth in the beautiful contradictions of identity.” – The AU Review Mar 16, 2026 Full Review Reminders of Him (2026) 56% 3/5 EDIT “Predictable? Absolutely. But also heartfelt, occasionally moving, and just sweet enough to earn its place in the growing Hoover-on-screen canon.” – The AU Review Mar 13, 2026 Full Review Project Hail Mary (2026) 95% 4.5/5 EDIT “The film is thrilling, funny, and unexpectedly moving. It’s the kind of big, imaginative cinema that reminds us why we go to the movies in the first place.” – The AU Review Mar 12, 2026 Full Review The Plague (2025) 97% 4.5/5 EDIT “The Plague is not an easy watch, but it’s an unforgettable one: a haunting exploration of boyhood, shame, and the terrifying moment when children realise just how much power they hold over one another.” – The AU Review Mar 12, 2026 Full Review THE BRIDE! (2026) 57% 2/5 EDIT “The Bride! feels like it is at war with itself: determined to subvert expectation, but unsure what to replace it with.” – The AU Review Mar 4, 2026 Full Review Dolly (2025) 63% 3.5/5 EDIT “This is not polite horror. It’s blood-caked, sun-bleached, and proudly nasty; a love letter to 1970s hicksploitation that howls its influences rather than whispering them.” – The AU Review Feb 27, 2026 Full Review Solo Mio (2026) 83% 3/5 EDIT “A pleasant romantic comedy that understands its lane and stays in it. ” – The AU Review Feb 27, 2026 Full Review Scream 7 (2026) 31% 3.5/5 EDIT “It is, in many ways, a harmlessly entertaining sequel – self-aware, occasionally indulgent, but undeniably committed to giving audiences a good time. ” – The AU Review Feb 25, 2026 Full Review The Revenant (2015) 78% EDIT “The Revenant is not merely a performance, a survival story, or a technical marvel – it is a testament to what fearless, committed filmmaking can achieve.” – The AU Review Feb 24, 2026 Full Review The Testament of Ann Lee (2025) 86% 4.5/5 EDIT “It dares to take faith seriously without proselytising. It finds humour and warmth amid austerity. And it recognises that the desire to build a better world – however impossible – is itself a creative act.” – The AU Review Feb 23, 2026 Full Review How to Make a Killing (2026) 44% 4/5 EDIT “Proves that sometimes the sharpest comedies are the ones delivered with the straightest face” – The AU Review Feb 23, 2026 Full Review EPiC: Elvis Presley in Concert (2025) 97% 4/5 EDIT “It’s a reminder of why Elvis mattered – and why, decades on, he still does.” – The AU Review Feb 18, 2026 Full Review War Machine (2026) 69% 3.5/5 EDIT “War Machine is big, loud, occasionally ridiculous, and fully aware of it. It’s a high-volume time killer that doesn’t apologise for its influences – it practically flexes them. ” – The AU Review Feb 17, 2026 Full Review Wuthering Heights (2026) 57% 3.5/5 EDIT “In restoring the story’s feral energy and erotic charge, Fennell reminds us that classics endure not because they remain frozen, but because they can withstand being reimagined. ” – The AU Review Feb 12, 2026 Full Review Whistle (2025) 64% 2/5 EDIT “For all its talk of destiny, Whistle ends up feeling preordained in the least exciting way: a familiar echo rather than a scream.” – The AU Review Feb 12, 2026 Full Review Crime 101 (2026) 89% 3.5/5 EDIT “A sleek exercise in neo-noir, Crime 101 knows exactly how cool it wants to be – and mostly earns it.” – The AU Review Feb 11, 2026 Full Review Shelter (2026) 65% 3/5 EDIT “A solid, watchable, if hardly groundbreaking, entry in the Statham canon.” – The AU Review Feb 5, 2026 Full Review We Bury the Dead (2024) 88% 3/5 EDIT “While it never fully transcends its genre framework, it is thoughtful enough to feel like more than just another zombie movie – it is a meditation on grief dressed in the trappings of survival horror.” – The AU Review Feb 5, 2026 Full Review Silenced (2026) 100% 3.5/5 EDIT “Challenges audiences to reconsider how we treat women who speak, and to recognise that true progress begins with ensuring that their voices cannot be silenced.” – The AU Review Feb 2, 2026 Full Review The Musical (2026) 59% 2.5/5 EDIT “A spiky, messy, occasionally brilliant comedy that points to a director with a distinct voice still finding her footing.” – The AU Review Feb 1, 2026 Full Review Big Girls Don't Cry (2026) 100% 3.5/5 EDIT “It marks [Paloma] Schneideman as a filmmaker of rare sensitivity, and [Ani] Palmer as a startling new talent we’ll be watching for years to come.” – The AU Review Feb 1, 2026 Full Review Hot Water (2026) 90% 3/5 EDIT “As a debut, it’s a compelling glimpse of a filmmaker with a distinctive voice, even if the journey itself occasionally feels more interesting than the place it’s headed.” – The AU Review Feb 1, 2026 Full Review
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