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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
Dolly (2025) 77% 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) 46% 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) 96% 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) 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) 58% 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) 62% 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) 88% 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) 64% 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) 58% 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 Union County (2026) 97% 3.5/5 EDIT “Could have been another familiar tale of addiction and despair, but what unfolds instead is something far more tender, searching, and quietly hopeful” – The AU Review Jan 31, 2026 Full Review Night Nurse (2026) 78% 2.5/5 EDIT “As it stands, however, Night Nurse feels like a tantalizing misfire: a film that looks and sounds seductive but too often moves at a crawl, mistaking slowness for depth.” – The AU Review Jan 31, 2026 Full Review Josephine (2026) 95% 5/5 EDIT “Josephine is not an easy watch, but it is a necessary one; A shattering, compassionate, and profoundly unsettling exploration of how violence reverberates long after the act itself is over.” – The AU Review Jan 30, 2026 Full Review Run Amok (2026) 66% 4/5 EDIT “A tender, unconventional, and deeply humane piece of art that honors the voices of those most often sidelined in conversations about tragedy” – The AU Review Jan 30, 2026 Full Review Cold Storage (2026) 78% 3.5/5 EDIT “Gross, goofy, and gleefully unhinged, Cold Storage is exactly what it promises to be.” – The AU Review Jan 30, 2026 Full Review Send Help (2026) 93% 4/5 EDIT “Bold, unsettling, and wickedly funny, Send Help stands as one of Raimi’s most provocative works in years.” – The AU Review Jan 27, 2026 Full Review Bedford Park (2026) 96% 3.5/5 EDIT “Heartbreaking, beautifully acted, and deeply personal.” – The AU Review Jan 26, 2026 Full Review The Wrecking Crew (2026) 74% 3.5/5 EDIT “It knows the formula it’s working with and embraces it wholeheartedly, delivering bruising action, sharp chemistry, and a playful swagger that makes the journey worthwhile – even if you’ve seen the road before.” – The AU Review Jan 26, 2026 Full Review
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