Question: How did Peter Debruge rate the film Looper?
About the article "Looper (film)", section "Toronto International Film Festival".

Candidate passages:
James Mottram of "Total Film" gave "Looper" 5 stars out of 5, concluding that it was "the best sci-fi movie since "Moon".
The best time-travel yarn since "12 Monkeys".
And one of the best films of 2012.
"Todd McCarthy of "The Hollywood Reporter" gave the film a positive review, calling it "an engaging, neatly worked-out time-travel sci-fi thriller", but also criticizing the effects involved in making Gordon-Levitt resemble Willis: "At first, the effect is a bit odd, and you can't quite put your finger on what's off; then it feels downright weird to be looking at a version of Gordon-Levitt who is no longer the actor you've known for a few years now.
"Peter Debruge of "Variety" also gave the film a positive review, writing that writer-director Johnson's "grandly conceived, impressively mounted third feature shows a giddy, geeky interest in science-fiction, then forces it into the back seat and lets the multidimensional characters drive.
In a genre infamous for loose ends, this thinking man's thriller marshals action, romance and a dose of very dark comedy toward a stunning payoff."
Hayden's film "Kathy T" (Hayden title lead) won Audience Choice Award for Best Feature Film in 2007.
In 2009, "We Are the Mods" (Hayden lead) won Audience Choice Award, Screenwriting Award and Sound Track Award.
She has been described by Peter Debruge as "a force of nature" in Variety. 
CinemaArt released the film in the Czech Republic on 6 March 2009.
Peter Debruge compared the film to "Toy Story" in a reviews for "Variety", and complimented the animation: "despite their inflexible faces, Barta conceives all sorts of inventive ways to bring these inanimate objects to life.
[…] Should a given shot prove too tricky to accomplish practically, Barta has no qualms about using digital compositing to blend multiple stop-motion plates.
Though rudimentary, fire and water effects are especially effective."
About the film's commercial prospects, Debruge wrote: "For all its charms, "In the Attic" feels vaguely sinister and may prove too intense for younger kids – a testament to the film's pacing and score, as well as how deeply auds emotionally connect with these occasionally macabre toy characters.
"The film has been honored with awards including an Excellence Prize for animation at the 2010 Japan Media Arts Festival, those for best feature at the 2010 New York International Children's Film Festival and the 2011 Tehran International Animation Festival, in both winning over "The Secret of Kells", and the Kecskemét City Award at the 7th Festival of European Animated Feature Films and TV Specials in 2011. 
This film received mostly positive reviews from Duane Byrge ("The Hollywood Reporter"), Bill Weber ("Slant Magazine"), Peter Debruge ("Variety") and Scott Weinberg (FEARnet).
It also received two "See It"s from Michael Phillips and Richard Roeper during "At the Movies".
The film currently holds a rating of 78% on review aggregator RottenTomatoes, based on 95 reviews. 
Critical response.
The film received mixed reviews, while Pattinson's performance was praised.
"Prairie Miller" of "News Blaze" gave film three stars out of five and praised Pattinson's performance by saying that "(he played) A kind of problem child with whiskers in this delayed coming of age family dyfunction outing, Pattinson impresses with his broad range, while doing daffy and despair simultaneously."
"Geo Euzebio" in her review for "Cineplayer" criticized the film by saying that "seems more of the same: A dramedy about characters and dysfunctional families, with humor and structure based on American independent comedy."
But ultimately praised Pattinson that "(his) performance is interesting and he hits the pitch with the pseudo-musician who only scratches few chords on the guitar, but still want to live their art.
"However "Peter Debruge" from Variety gave the film a negative review by saying that "(it) is a taxing reminder that middle-class depression ranks among cinema's least engaging topics."