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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Dungeons & Dragons: Honor Among Thieves (2023) |
Dungeons & Dragons: Honour Among Thieves is a supremely entertaining outing that balances its situational comedy and emotional outlay with a welcome confidence. - The AU Review
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| Posted Mar 20, 2023
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All the World Is Sleeping (2021) |
The film is proof that cycles can be overcome and that self-destruction doesn’t always have to result in fatal failure. A wake-up call to society. - The AU Review
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| Posted Mar 17, 2023
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Shazam! Fury of the Gods (2023) |
It’s a testament to returning director David F. Sandberg that he manages to present us with visual stimulants that still manage to surprise in a time when comic book proceedings feel entirely telegraphed. - The AU Review
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| Posted Mar 15, 2023
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Bloody Hell (2023) |
Bloody Hell may be a deeply personal experience for [writer/director Molly] McGlynn herself, but her ability to project something so intimate and invite us in on a comparable level speaks to her strength as a storyteller. - The AU Review
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| Posted Mar 14, 2023
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Cora Bora (2023) |
Stalter is continually in control of the comedic state necessary to push Cora Bora forward in a manner that blends its heightened temperament with her organic nature. - The AU Review
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| Posted Mar 13, 2023
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Brooklyn 45 (2023) |
A strong, talented cast and the individual hauntings of each character from a psychological point of view keep Brooklyn 45 an entertaining viewing; even if it doesn’t quite entirely deliver on its potential. - The AU Review
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| Posted Mar 13, 2023
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Satan Wants You (2023) |
What so easily could have been a subject dismissed, Adams and Horlor have touched on the terror of widespread information and the unsettling ease in both crediting and discrediting an accusatory recital. - The AU Review
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| Posted Mar 12, 2023
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Late Night With the Devil (2023) |
Taking the “found footage” subsect of the horror genre and giving it a healthy twist as to not fall too heavily on expected tropes, Australian filmmaking duo Colin Cairnes and Cameron Cairnes have occasionally nasty, always unbridled fun. - The AU Review
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| Posted Mar 12, 2023
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National Anthem (2023) |
Celebrating a queer collective that have seldom seen a light shone on them, National Anthem does so with an organic sheen. - The AU Review
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| Posted Mar 11, 2023
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Only The Good Survive (2023) |
At one point the question is even asked if the story being relayed is “a horror or a comedy?”, and writer/director Dutch Southern, in the most nonsensical, unpredictable fashion, makes sure to never directly answer if it’s either or both. - The AU Review
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| Posted Mar 11, 2023
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Dreamer (2023) |
Sadly, but also quite truthfully, it’s a harsh drama that touches on the subjects of immigration, human trafficking, and one’s own determination in fighting for what’s right – even if that’s at the expense of your own existence. - The AU Review
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| Posted Mar 09, 2023
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Till (2022) |
It may not be an easy watch, but it’s essential; and, if nothing else, Deadwyler’s performance will floor you to where the story’s personal relevance won’t be of issue. - The AU Review
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| Posted Mar 09, 2023
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To Leslie (2022) |
Another less pleasant filmic experience that revels in the ugliness and the flaws of human beings, To Leslie is worth a watch for Riseborough’s committed turn. - The AU Review
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| Posted Mar 09, 2023
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Scream VI (2023) |
Where some sequels jump the shark or overstay their welcome, Scream VI drinks off its fresh blood and presents itself as if it’s just getting started, and I, for one, can’t be thankful enough. - The AU Review
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| Posted Mar 08, 2023
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Champions (2023) |
Farrelly is confident in his direction of the genre, and in sticking to his sensibilities he’s created a warm, welcoming comedy that overcomes its predictable nature. - The AU Review
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| Posted Mar 08, 2023
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The Donor Party (2023) |
In trying to inject a serious discussion about sex and parenthood it feels disjointed and ultimately too soft for the rule-breaking comedy it so clearly wants to be. - The AU Review
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| Posted Mar 04, 2023
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Creed III (2023) |
The sense that [Michael B.] Jordan owns this character is palpable, and his directorial prowess only enhances his stronghold on the character. - The AU Review
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| Posted Mar 02, 2023
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American Murderer (2022) |
The fact that this film’s ending is so open due to the real-life circumstances lends an eeriness to proceedings that so few true crime stories adhere to. - The AU Review
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| Posted Mar 02, 2023
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Lonesome (2022) |
A movie that revels in filth but is at its most uncomfortable when it simply lets its lead characters exist. - The AU Review
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| Posted Feb 23, 2023
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Missing (2023) |
A welcome twist on the found-footage genre subsect that practically ran itself into the ground through overexposure, Missing makes a classic narrative feel inviting and fresh. - The AU Review
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| Posted Feb 23, 2023
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Fisherman's Friends: One and All (2022) |
A boring, insultingly pedestrian film that isn’t even so bad it manages an entertaining personality of sorts, Fisherman’s Friends 2: One and All should be disbanded, unfollowed and put in the bargain bin. - The AU Review
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| Posted Feb 23, 2023
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Daughter (2022) |
The film’s dark, grainy aesthetic further speaks to Deshon’s comfort in expressing his horror temperament, revelling in a nature that’s more psychological than visually brutal. - The AU Review
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| Posted Feb 23, 2023
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Cocaine Bear (2023) |
They often say that truth can be stranger than fiction, and in the case of Cocaine Bear, the truth is wild, high, very bloody, darkly funny, and doesn’t play well with others. - The AU Review
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| Posted Feb 22, 2023
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Women Talking (2022) |
Heavy it may be to some, infuriating to others, but necessary to all – whether you want to hear about it or not – Women Talking is a divisive drama that should be respected for tackling its issues with a straightforwardness. - The AU Review
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| Posted Feb 16, 2023
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Ant-Man and The Wasp: Quantumania (2023) |
Feels unsure of its own journey, losing its personality in a sea of overt CGI and poorly-executed humour that, sadly, cheapens whatever genuine wit Jeff Loveness‘s script manages to occasionally muster. - The AU Review
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| Posted Feb 14, 2023
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Irreversible: Straight Cut (2020) |
Irreversible: The Straight Cut has something of a reputation to contend with in that regard, and whilst it’s equally as devastating to watch, there are now different levels of complexity on hand with a story that no longer “ends” on a happier note; - The AU Review
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| Posted Feb 10, 2023
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Somebody I Used To Know (2023) |
As it walks on a path we expect it to, Franco and Brie are all too aware that a well-placed side step is all the film needs in order to overcome the predictive hurdle so many romantic comedies adhere to. - The AU Review
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| Posted Feb 09, 2023
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Magic Mike's Last Dance (2023) |
There’s still a sense of the youthful energy that has driven the previous films, but it’s dominated by a romantic ripeness that laces this “final tease” with a welcome decorousness. - The AU Review
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| Posted Feb 07, 2023
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Knock at the Cabin (2023) |
Shot with a tight, almost claustrophobic lens at times, and indulging its genre thrills with a simplicity that proves less is often more when it comes to theatrical distraction, Knock at the Cabin grabs you in a vice-like grip and won’t let go. - The AU Review
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| Posted Feb 03, 2023
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The Whale (2022) |
It’s an absolute triumph of a performance from [Brendan] Fraser, whose own humanity is what ultimately allows The Whale to not entirely sink in its surroundings. - The AU Review
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| Posted Feb 03, 2023
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Little Dixie (2023) |
If you’re going to spend 100-or-so minutes with a film that entertains in spite of its familiarity, it might as well be with someone as reliable as [Frank] Grillo at the helm. - The AU Review
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| Posted Feb 03, 2023
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Blood (2022) |
[Brad] Anderson’s investing thriller delights in its commentary on self-preservation and self-sacrifice, resulting in a far more intelligent effort than its horror packaging suggests. - The AU Review
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| Posted Jan 30, 2023
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Talk to Me (2023) |
Danny & Michael Philippou announce their horror inclinations in a particularly bold fashion, doubling down on the cruelty that can be found within the genre. - The AU Review
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| Posted Jan 28, 2023
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What's Love Got to Do with It? (2022) |
What’s Love Got To Do With It? is a suitably winning product that – thankfully for the dreamers – answers its own question with enough charm and vigour. - The AU Review
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| Posted Jan 27, 2023
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Tár (2022) |
However one embraces or denies Tár as a whole, it’s a film that owns its coldness [...] and brutally thrives through the undeniably magnificent Blanchett. - The AU Review
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| Posted Jan 27, 2023
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Infinity Pool (2023) |
Plunges headfirst into psychosexual excess, serving us as an audience a gluttonous amount of privileged punishment as we bare witness to psychological breakdowns and breakthroughs. - The AU Review
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| Posted Jan 27, 2023
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Cat Person (2023) |
It’s uneven and a cautionary tale that deserves better, but at least it’s spearheaded by a duo of intriguing turns that do their best to maintain our interest when the story fails to do so. - The AU Review
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| Posted Jan 27, 2023
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Maybe I Do (2023) |
It’s always a treat to see such talent collectively riff off each other, but they deserve better than a script that’s formulaic to a disappointing fault. - The AU Review
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| Posted Jan 27, 2023
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Other People's Children (2022) |
There’s complexity within the rather simplistic narrative of Other People’s Children, Rebecca Zlotowski‘s affecting French drama about a certain definition of motherhood. - The AU Review
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| Posted Jan 27, 2023
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Magazine Dreams (2023) |
It’s already a brutal, tense experience – the draining anxiety present throughout is palpable – but what begins as a character study unravels in a manner that only increases our fearfulness as a helpless viewer. - The AU Review
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| Posted Jan 24, 2023
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Mad Cats (2023) |
Leaning bombastically far into literal chaos and absurdity, [Reiki] Tsuno’s Mad Cats is a high-art-meets-low-brow martial arts extravaganza that embraces melodramatic nonsense – and is all the better for it. - The AU Review
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| Posted Jan 23, 2023
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Sometimes I Think About Dying (2023) |
Manages an emotional resonance as it tackles social anxiety and the feeling of disconnection that can stem from such. - The AU Review
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| Posted Jan 22, 2023
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Shotgun Wedding (2023) |
If any audiences are concerned that Shotgun Wedding will play things a little safe and traditional, I can attest that a healthy dose of profanity, surprising bloodshed, and a scene-stealing Jennifer Coolidge will change your mind.
- The AU Review
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| Posted Jan 19, 2023
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Babylon (2022) |
A spectacularly long, grossly indulgent, hilariously vile ode to cinema that stands as the filmmaker’s most ambitious and divisive project to date. - The AU Review
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| Posted Jan 18, 2023
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Emily (2022) |
Sporadically witty and shot with a jarring affinity that reflects the character’s own self-consciousness, Emily should easily satisfy those with an affection for emotionally-charged period dramas. - The AU Review
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| Posted Jan 14, 2023
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M3GAN (2022) |
Calling the film stupid or ludicrous is ultimately a compliment, so there’s no point in fighting M3GAN on its own insanity. Embrace her – you’ll live longer. - The AU Review
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| Posted Jan 11, 2023
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The Drop (2022) |
A comedy of manners that underplays its obvious farcical personality, The Drop may not always entirely take advantage of its nasty premise, but it’s perhaps because the film opts out of overt-situational comedy that it proves all the more entertaining. - This is Film
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| Posted Jan 11, 2023
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Operation Fortune: Ruse de guerre (2023) |
We should absolutely expect a slowed-down shot of Aubrey Plaza shooting a handgun out the window of a swerving car at some point, and, wouldn’t you know it, we get it and it’s an absolute serve. - The AU Review
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| Posted Jan 10, 2023
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Mummies (2023) |
The film itself is a bizarre, fascinatingly awful amalgamation of straight-to-video quality animation and a narrative that invites its viewers into a potentially enchanting after-world, but forgets to lay any foundation in the process. - The AU Review
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| Posted Jan 03, 2023
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A Man Called Otto (2022) |
Whatever darkness A Man Called Otto wants to project, there’s a light always finding itself, and, somehow, the mixture works beautifully for the film, in spite of how tropey it is. - The AU Review
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| Posted Dec 28, 2022
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