For 71 reviews, this critic has graded:
  • 46% higher than the average critic
  • 18% same as the average critic
  • 36% lower than the average critic
On average, this critic grades 5.2 points lower than other critics. (0-100 point scale)

David Chute's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Spirited Away
Lowest review score: 20 Controlled Chaos
Score distribution:
  1. Positive: 25 out of 71
  2. Negative: 9 out of 71
71 movie reviews
    • 47 Metascore
    • 60 David Chute
    A solidly crafted family comedy.
    • 31 Metascore
    • 60 David Chute
    Perhaps only a filmmaker from a country steeped in Catholicism could turn out a consistently sharp and profane "divine comedy" (the title means "blessed hell") that is also, for the most part, theologically correct.
    • tbd Metascore
    • 60 David Chute
    As a story it’s nothing much, but as eye candy it is world-class.
    • 56 Metascore
    • 60 David Chute
    Mathews has obvious storytelling chops, and a sharp eye for absurdity. But there are sacred cows in hip, progressive America, too, and the truly fearless satirist has to be a carnivore.
    • 57 Metascore
    • 60 David Chute
    In the final reel, the tension dissipates with a flabby hiss, as the film devolves into a banal, conventional ghost story.
    • 38 Metascore
    • 60 David Chute
    This shaggy-dog sequel is ultimately satisfying for the most low-tech of reasons: The competitive bond between the two central characters.
    • 70 Metascore
    • 60 David Chute
    In the end, Curse also looks alarmingly like a dry run for the opening and closing ceremonies Zhang has been hired to direct for the Beijing Olympic Games in 2008.
    • 57 Metascore
    • 60 David Chute
    Gandhi, My Father radiates sincerity. It’s a beautifully shot and staged period reconstruction, and is at times impressively acted, at least in the secondary roles. What it lacks is fresh insight.
    • tbd Metascore
    • 60 David Chute
    The movie works so hard to transform its shocking subject into acceptable material for middlebrow melodrama that it never deals with it.
    • 61 Metascore
    • 60 David Chute
    At their best, the lush yet punchy musical numbers that Acharya stages for Dhoom: 3 reach giddy heights of pop romanticism.
    • tbd Metascore
    • 60 David Chute
    The film could easily be a half-hour shorter; shot in a loose, handheld style that involved some improvisation, it feels unfocused and repetitive at times, to the point of aimlessness.
    • 35 Metascore
    • 50 David Chute
    Perhaps it is simply impossible, even with affection in your heart, to craft an evocative homage to the expansive musical melodramas of Bollywood on a small-scale indie budget.
    • tbd Metascore
    • 50 David Chute
    It simply takes faith for granted as a motivating factor, and thus pulls off the neat trick of never making us feel we’re being preached at -- Yet, as directed by first-timer Adam Anderegg, from Jack Weyland's 1980 novel, the movie is too amateurishly square to make the most of its own ironic implications.
    • 58 Metascore
    • 50 David Chute
    The various disruptions Miike visits upon his stories, and upon his audience, serve mainly to focus attention on the manipulating intelligence behind the scenes. They're a fancy way of yelling, "Look at me!"
    • 54 Metascore
    • 50 David Chute
    The buildup is so compelling in this "Chinese Western" by He Ping (Swordsman in Double Flag Town) that its thunderous anticlimax of an ending can almost be forgiven. Almost.
    • 69 Metascore
    • 50 David Chute
    Exceedingly dry and precise and slow-paced comedy.
    • 63 Metascore
    • 50 David Chute
    This often gripping but also unremittingly grim and drab account of these events is a "Taxi Driver" without the cathartic finale.
    • 64 Metascore
    • 50 David Chute
    Schizo is an earnest also-ran, sadly muffled by the opaque performance of non-actor Oldzhas Nusupbayev.
    • tbd Metascore
    • 50 David Chute
    The movie’s entire first half turns out to be an elaborate fake-out, a setup for a plot reversal so extreme it could induce whiplash even in seasoned Bollywood hands. As clumsily engineered by writer-director Kunal Kohli (Hum Tum), the sudden changeover from romance to political techno-thriller is likely to be especially startling for non-Indians.
    • 46 Metascore
    • 50 David Chute
    The movie is executed by director Kwak Kyung-Taek with flair, technical polish and tumescent firepower that the shriveled cinemas of Hong Kong and Japan can no longer match. But every gesture feels synthetic, from the back story about North-South separation to massage the emotions of the home audience, to the 24-style globe-hopping nuclear-terrorism premise.
    • 40 Metascore
    • 50 David Chute
    Apart from an extended scene-setting flashback that takes the form of a lavish Farah Khan song-and-dance montage, most of the running time is devoted to wearying flop-sweat farce.
    • 49 Metascore
    • 50 David Chute
    The film is so single-mindedly determined to be light and comfortable, to not raise a sweat, that it forgoes even the mildest surprises. The only things that get heavy here are the viewer's eyelids.
    • tbd Metascore
    • 50 David Chute
    Both in subject matter and form, this 25-minute music drama within the film tips its hat to the roots of Bollywood cinema’s most distinctive conventions -- with the inestimable assistance of its most seductive modern axiom.
    • tbd Metascore
    • 50 David Chute
    Ultimately, what’s most noteworthy about this middling effort is how aggressively un-contemporary it is.
    • tbd Metascore
    • 50 David Chute
    If it was more consistent, Bullett Raja would qualify as a solid piece of genre craftsmanship for director and co-writer Tigmanshu Dhulia (“Saheb Biwi Aur Gangster”), with action scenes that are crisply framed and edited for clarity.
    • 56 Metascore
    • 40 David Chute
    The cast of the Disney Channel's Lizzie McGuire romped strenuously through a plot that would be old hat as a two-parter on a sitcom.
    • 27 Metascore
    • 40 David Chute
    Surprisingly, not bad.
    • 23 Metascore
    • 40 David Chute
    The most exhilarating fight by far is an acrobatic wall climber between Ja Rule and Nia Peeples, choreographed by Hong Kong's Xin Xin Xong (The Musketeer) who, in terms of thrills per minute, is the movie's real star.
    • 66 Metascore
    • 40 David Chute
    This sophomoric stuff is pure self-indulgence, a drone to accompany the admittedly eye-popping sound-and-light show. Oshii looks like yet another director who has gone off the deep end, believing too absolutely his own good reviews.

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