For 722 reviews, this critic has graded:
  • 61% higher than the average critic
  • 3% same as the average critic
  • 36% lower than the average critic
On average, this critic grades 8.1 points higher than other critics. (0-100 point scale)

David Ansen's Scores

  • Movies
  • TV
Average review score: 70
Highest review score: 100 Adaptation.
Lowest review score: 0 Book of Shadows: Blair Witch 2
Score distribution:
  1. Negative: 40 out of 722
722 movie reviews
    • 91 Metascore
    • 90 David Ansen
    The images of war that Folman and his chief illustrator, David Polonsky, conjure up have a feverish, infernal beauty. Dreams and reality jumble together.
    • 67 Metascore
    • 90 David Ansen
    A hauntingly beautiful tone poem.
    • 76 Metascore
    • 90 David Ansen
    The movie's slight, anecdotal structure is deceptive; you wouldn't guess how big an emotional wallop it packs.
    • 74 Metascore
    • 90 David Ansen
    This delightful film, with its surprising depth charges of emotion, has the feel of a movie that's going to lodge itself in the public's affections for a long time to come.
    • Newsweek
    • 80 Metascore
    • 90 David Ansen
    This indie, a sweet, tart and smart satire about a family of losers in a world obsessed with winning, is an authentic crowd pleaser. There's been no more satisfying American comedy this year.
    • 62 Metascore
    • 90 David Ansen
    The mordant, deadpan humor that streaks through Dead Man is echt Jarmusch, but it's in the service of his most mysterious and deeply felt movie, a meditation on death and transfiguration that, by the end, has thrown off the protective veil of irony. [03 Jun 1996, Pg.75]
    • Newsweek
    • 72 Metascore
    • 90 David Ansen
    This Superman, which infuses its action with poetry, soars as a love story filled with epic yearnings, thwarted desires and breathtaking imagery.
    • 78 Metascore
    • 90 David Ansen
    Ruthless People is a tight, vulgar, low-down black farce that starts funny and, wonder of wonders, gets funnier as it goes. [30 June 1986, p.59]
    • Newsweek
    • 70 Metascore
    • 90 David Ansen
    Comedy and suspense, satire and shame are all mashed together--with breezy confidence.
    • 82 Metascore
    • 90 David Ansen
    Barry Sonnenfeld's bouncy, immensely likable adaptation.
    • 82 Metascore
    • 90 David Ansen
    Face/Off is a summer movie extraordinaire: violent, imaginative, crazily funny and, oddly moving. Hollywood has finally wised up and let Hong Kong auteur John Woo strut his stuff in all its undiluted, over-the-top glory.
    • 67 Metascore
    • 90 David Ansen
    This is the most personal, deeply felt film from the gifted director of "Under the Sand" and "Swimming Pool." Ozon leaches his melodrama of all sentimentality, and moves us all the more.
    • 83 Metascore
    • 90 David Ansen
    There hasn't been a studio movie as unapologetically adult, sophisticated, and nuanced as Up in the Air in some time.
    • 74 Metascore
    • 90 David Ansen
    In Peggy Sue Got Married, Francis Coppola takes a familiar, sitcomish premise -- the one about a grown woman who time-travels back to her high-school days -- and invests it with rich and surprising colors. Imagine a paint-by-numbers comic book put in the hands of a Rembrandt; the bold comic outlines remain, but the subject is transformed by the dark palette and subtle brushwork into a tale reverberating with complex, adult emotions. [6 Oct 1986, p.73]
    • Newsweek
    • 76 Metascore
    • 90 David Ansen
    This is an epic you have to listen to--it's about people who trade in words, who make revolutions in their heads, and Beatty and Trevor Griffiths's script is full of some of the best talk in any movie this year. [7 Dec 1981, p.83]
    • Newsweek
    • 74 Metascore
    • 90 David Ansen
    The true allure of Titanic is its invitation to swoon at a scale of epic moviemaking that is all but obsolete.
    • 82 Metascore
    • 90 David Ansen
    Exuberantly theatrical yet every inch a movie, and some numbers ("The Cell Block Tango") are so entertaining you might want to applaud.
    • 80 Metascore
    • 90 David Ansen
    Noyce uses his Hollywood craft to unfold this primal, powerful story, he has an epic feel for the harshly beautiful Australian landscape and he gets wonderfully natural performances from the three girls. His bold, lyrical images stay in your head, like an unaccountably beautiful nightmare.
    • Newsweek
    • 82 Metascore
    • 90 David Ansen
    Blackly funny, unafraid to shift emotional gears from farce to horror, peppered with spectacular action.
    • 84 Metascore
    • 90 David Ansen
    Reveals a chilling reality: how hard it is to tell a simple truth when big business doesn't want it told.
    • 91 Metascore
    • 90 David Ansen
    A tad dark for little kids, this one-of-a-kind movie delivers 80 minutes of idiosyncratic inspiration.
    • 54 Metascore
    • 90 David Ansen
    Deep Blue Sea gives good rush -- earning its stripes as one terrific junk movie.
    • 73 Metascore
    • 90 David Ansen
    There’s not a whisper of melodrama or sentimentality in the way Moretti tells his tale, guiding us through the stages of grief with calm, devastating lucidity.
    • Newsweek
    • 80 Metascore
    • 90 David Ansen
    Ferociously intense, furiously kinetic, it’s expressionist film noir science fiction that, like all good sci-fi, peers into the future to shed light on the present.
    • Newsweek
    • 61 Metascore
    • 90 David Ansen
    James Bridges's film, which he co-authored with Aaron Latham, has a mood and rhythm of its own -- it's in no hurry to knock your socks off. You have to get to know the characters, just as it takes time for them to get to know each other. Then suddenly, when Bud and Sissy's premature marriage starts to fall apart, you find that you care, and the spell is cast. Bridges shows an extraordinary gift for directing actors, and he gets a string of marvelous, fresh performances. [09 June 1980, p.84]
    • Newsweek
    • 71 Metascore
    • 90 David Ansen
    The movie is, from start to finish, a hoot... Both a savvy satire of smalltown boosterism and an affectionate salute to the performing spirit. [10 Feb 1987, p.66]
    • Newsweek
    • 87 Metascore
    • 90 David Ansen
    This is humanism in drag: Almodovar's passionate redefinition of family values.
    • Newsweek
    • 83 Metascore
    • 90 David Ansen
    A delightful surprise... Jewison does his best work in decades. [21 Dec 1987]
    • Newsweek
    • 70 Metascore
    • 90 David Ansen
    Few films have shown so powerfully the slashing double edge of sports fever.
    • 82 Metascore
    • 90 David Ansen
    Loach hurls us into the fracas, circa 1920, and creates such a vivid sense of the nuts and bolts of guerilla war you almost forget you are watching a period piece. Unlike the epic sweep of Neil Jordan's "Billy Collins," which spoke in a syntax closer to Hollywood's, "The Wind" doesn't paint over its political arguments with a patina of nostalgia.

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