For 639 reviews, this critic has graded:
  • 63% higher than the average critic
  • 3% same as the average critic
  • 34% lower than the average critic
On average, this critic grades 11.2 points higher than other critics. (0-100 point scale)

David Ansen's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 Before Night Falls
Lowest review score: 0 Book of Shadows: Blair Witch 2
Score distribution:
  1. Negative: 34 out of 639
639 movie reviews
    • 54 Metascore
    • 40 David Ansen
    In this distressingly generic spy spoof, it's not Maxwell who's clueless, but the filmmakers.
    • 71 Metascore
    • 40 David Ansen
    The Wrath of Khan is a small soap opera about a man coming to terms with age and death and a son he had never acknowledged. It's really "On Golden Galaxy," and it would have made a lot more sense as a modestly produced hour of television. [7 June 1982, p.53]
    • Newsweek
    • 50 Metascore
    • 40 David Ansen
    Spielberg doesn't differentiate between the good ideas in the script and the bad ones: everything is given an emphatic, production-number treatment... His ultraslick, seductive technique can be a pleasure to watch in itself, but it can't disguise the fact that "Always" is a decidedly uneternal fantasy. [1 Jan. 1990, p.60]
    • Newsweek
    • 52 Metascore
    • 40 David Ansen
    A good half hour too long, and badly in need of some scares, Hook is a huge party cake of a movie, with too much frosting. After the first delicious bite, sugar shock sets in.
    • 48 Metascore
    • 40 David Ansen
    Howard's fifth movie is a keen disappointment. Clever moments and bittersweet touches aside, it leaves you wishing a modern-day Preston Sturges had written the script. [17 Mar 1986, p.82]
    • Newsweek
    • 54 Metascore
    • 30 David Ansen
    Everything in Rounders is right there on the surface. Watching it is about as exciting as playing poker with all the cards face up. [14 Sept 1998]
    • Newsweek
    • 37 Metascore
    • 30 David Ansen
    So bland and un-lived in you want to pour Tabasco all over the screen.
    • 49 Metascore
    • 30 David Ansen
    This is a farfetched premise, and the movie pays a price for it.
    • Newsweek
    • 44 Metascore
    • 30 David Ansen
    All shots and no scenes, which is nice for a picture book but deadly for drama.
    • 61 Metascore
    • 30 David Ansen
    A lumbering, self-important three-hour melodrama that defies credibility at every turn.
    • Newsweek
    • 36 Metascore
    • 30 David Ansen
    Every role is miscast. Whose idea was it to have the boyishly British Bale play an illiterate Greek peasant, or the elegant Hurt a gruff-voiced country doctor? Cruz’s run of bad luck in American movies continues.
    • 56 Metascore
    • 30 David Ansen
    Flat, distressingly witless -- To put it bluntly -- the thrill is gone. Nobody did it better. But that was then.
    • Newsweek
    • 32 Metascore
    • 30 David Ansen
    Cameron Diaz, Christina Applegate and Selma Blair are asked to humiliate themselves many times over in The Sweetest Thing, and they do it with such game good spirits that they ought to get the actor’s equivalent of a Purple Heart.
    • Newsweek
    • 46 Metascore
    • 30 David Ansen
    You know a romantic comedy is in trouble when you root for the hero not to get the girl.
    • Newsweek
    • 47 Metascore
    • 30 David Ansen
    As adroit and charming as Witherspoon is--and she gives it her all--she cannot rise above the embarrassingly broad, witless material.
    • 51 Metascore
    • 30 David Ansen
    Irreversible takes an adolescent pride in its own ugliness. “I Stand Alone" told me something about the world; this one tells me more than I want to know about the calculating mind of its maker.
    • 26 Metascore
    • 30 David Ansen
    Sarah Thorp’s lazy script lurches from the lame to the ludicrous.
    • 28 Metascore
    • 30 David Ansen
    Screenwriter Akiva Goldsman has written quips, not characters and Joel Schumacher still seems miscast as a Bat-action director: he stages the mayhem confusingly and the comedy too broadly.
    • 52 Metascore
    • 30 David Ansen
    Downright repetitive! [30 May 1983]
    • Newsweek
    • 43 Metascore
    • 30 David Ansen
    The special effects are definitely the best thing about this curiously bland disasterthon.
    • 49 Metascore
    • 30 David Ansen
    The superhero genre screams for a makeover, or at least a smart deconstruction, but Hancock isn't that movie. It just ups the foolishness ante.
    • 46 Metascore
    • 30 David Ansen
    Trying for a tone somewhere between an art film, an absurdist comedy, a horror movie and an old Saturday-matinee serial, he's made a handsome, cripplingly self-conscious thriller that's devoid of any real thrills. [3 Feb. 1992, p.65]
    • Newsweek
    • 33 Metascore
    • 20 David Ansen
    Like people who compulsively giggle whenever they tell you bad news, the movie runs for cover in lame, comic shtick.
    • Newsweek
    • 38 Metascore
    • 20 David Ansen
    What was a ragged but often hilarious charmer has been genetically altered into a deafening and desperate mutant.
    • 42 Metascore
    • 20 David Ansen
    Kids will be bored, the rest of us baffled.
    • Newsweek
    • 32 Metascore
    • 20 David Ansen
    Nutty paranoid thriller.
    • 43 Metascore
    • 20 David Ansen
    A tired, confused romantic comedy/noir thriller with all the suspense of an infomercial. Buy the poster; skip the movie.
    • Newsweek
    • 27 Metascore
    • 20 David Ansen
    I staggered out of this shameless, interminable movie feeling as if I'd been force-fed a ton of mealy, artificially sweetened baby food.
    • Newsweek
    • 25 Metascore
    • 20 David Ansen
    Screenwriter Ropelewski piles one silly plot contrivance upon another, and the characters start behaving like nitwits.
    • 40 Metascore
    • 20 David Ansen
    If this is what Hollywood considers serious, important filmmaking, maybe the movie industry should stick to the low road.
    • Newsweek
    • 50 Metascore
    • 20 David Ansen
    All the surprises strenuously cooked up by screenwriter Patrick Smith Kelly and director Andrew ("The Fugitive") Davis can't overcome the movie's inability to make us care about any of its paper-thin characters.
    • 48 Metascore
    • 20 David Ansen
    The creepy subtext of his (Sandler's) behavior is something this crude, mirthless comedy tries not to notice.
    • 44 Metascore
    • 20 David Ansen
    That this relentless barrage of psychological and physical torture is extremely well made and powerfully performed--Watts hurls herself into her physically demanding role with heroic conviction--somehow makes it worse.
    • 41 Metascore
    • 10 David Ansen
    The combination of Shandling's button-down TV sensibility and Nichols's good taste produces a film whose tone is out of sync with the simple, ribald conceit and is only mildly amusing at best.
    • 19 Metascore
    • 10 David Ansen
    The folks who served up this formulaic swill seem to think comedy grants you a free pass from credibility. Our lonely hero's artificial Yuletide enthusiasm is more than odd: it's not recognizably human.
    • 49 Metascore
    • 10 David Ansen
    Rent the devastating "The Boys of St. Vincent" to see how slick and hollow Sleepers is, how little it reveals about the real nature and effect of child abuse. [28 October 1996, p. 74]
    • Newsweek
    • 36 Metascore
    • 10 David Ansen
    The usually reliable director Michael Caton-Jones hasn't a clue how to freshen up such stale material.
    • 35 Metascore
    • 10 David Ansen
    Michael Beck (of "The Warriors") shows no discernible talent for musical romanticism Olivia ("Totally Hot") Newton-John sings prettily but is totally tepid, and the ever graceful Gene Kelly deserves a medal for keeping a straight face. Robert Greenwald, the director, should look into another line of work. Perhaps opening a disco? [18 Aug 1980, p.85]
    • Newsweek
    • 15 Metascore
    • 0 David Ansen
    If you harbor any fond feelings for the original, stay far away from this mess.
    • Newsweek

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