For 510 reviews, this critic has graded:
  • 20% higher than the average critic
  • 2% same as the average critic
  • 78% lower than the average critic
On average, this critic grades 7.6 points lower than other critics. (0-100 point scale)

David Fear's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 12 Years a Slave
Lowest review score: 20 I Give It a Year
Score distribution:
  1. Negative: 34 out of 510
510 movie reviews
    • 59 Metascore
    • 40 David Fear
    A set piece involving a skyscraper and a sports car proves he can induce sweaty palms, but one nail-biting moment and some much-misssed Murphy mouthiness won't keep you from feeling like you're the one being ripped off.
    • 58 Metascore
    • 40 David Fear
    This story is both uplifting and awe-inspiring. It deserves to be told better.
    • 40 Metascore
    • 40 David Fear
    If its juxtaposition of bad behavior and dairy products leaves you stone-faced or wearily sighing, you should exit the theater posthaste.
    • 58 Metascore
    • 40 David Fear
    Third times are rarely charms in the movies, much less fourth go-rounds, and it takes more than ho-hum 3-D and video-game-ready action sequences to liven up diminishing returns
    • 55 Metascore
    • 40 David Fear
    Capital ends up being neither a high-stakes thriller nor a cutting commentary on real-world bad behavior. It’s just CEO exotica, all dressed up with nowhere to go.
    • 54 Metascore
    • 40 David Fear
    The novelty of their industry aside, there's little to differentiate this from any other relationship-centered Amerindie.
    • 73 Metascore
    • 40 David Fear
    Even the admittedly thrilling gameplay footage and time-capsule news reports are couched in contexts that seem crudely sketched out.
    • 64 Metascore
    • 40 David Fear
    Only Andrea Riseborough comes close to rising above it all, and even she’s undone by what may be the crassest climactic slo-mo montage ever. The lucky will have logged off by that point.
    • 57 Metascore
    • 40 David Fear
    The Fifth Generation filmmaker has aced such recipes before (e.g. The Emperor and the Assassin); this time, both the spectacular and the human elements have apparently been offered to the gods.
    • 37 Metascore
    • 40 David Fear
    It isn't long, however, before the film's caricatured bad-guy shtick starts to wear gossamer thin, and an overabundance of "clever" twists-no one is [Yawn] who they seem to be! - begins to sap whatever little goodwill has been built up.
    • 64 Metascore
    • 40 David Fear
    Kudos for stepping outside your comfort zone, sir, even if the result just translates as old-fashioned cultural slumming masked as tear-jerking humanism. Better luck next time.
    • 57 Metascore
    • 40 David Fear
    This charmless movie thinks it can soft-sell its date-night love story and its media meta-jabs without people feeling they've been bamboozled on either count.
    • 51 Metascore
    • 40 David Fear
    To her credit, Howard’s performance as a class-obsessed Southerner is decent enough to keep things from completely devolving to community-college level. But such weak work needs strong hands all around to guide it, and one pair isn’t enough.
    • 39 Metascore
    • 40 David Fear
    The fact that the film’s title is an Arabic word for “olive,” as in holding out said branch to your foes, gives you a sense of what Israeli filmmaker Eran Riklis (Lemon Tree) is going for: a melodrama with a do-we-all-not-bleed? moral.
    • 45 Metascore
    • 40 David Fear
    Feste's ode to showbiz clichés is closer to contemporary Nashville pop: twangy enough to qualify as Southern-fried, but too slick and disposable to be truly deep.
    • 52 Metascore
    • 40 David Fear
    Lise Birk Pedersen's documentary offers some compelling peeks into Russia's bureaucratic skulduggery, but her attempt to frame the situation through a young convert's coming of age never really coheres. Innocence was lost; so, apparently, was much of the insightful commentary.
    • 57 Metascore
    • 40 David Fear
    No one's asking for a somber account of simian life, but perhaps Buzz Lightyear could keep quiet for a bit and let the monkey business speak for itself.
    • 39 Metascore
    • 40 David Fear
    Question: What's the only thing worse than doing an unfaithful film adaptation of a Nicholas Sparks novel? Answer: Doing a completely faithful one.
    • 64 Metascore
    • 40 David Fear
    Mona Achache's character study plays like a Gallic version of a Sundance flick, complete with on-the-nose references - Igawa's character is named Mr. Ozu - and just enough offbeat touches to make it seem more deep than it actually is.
    • 42 Metascore
    • 40 David Fear
    This slapdash parody will simply inspire shrugs.
    • 54 Metascore
    • 40 David Fear
    Cracks simply doesn't make the grade.
    • 45 Metascore
    • 40 David Fear
    Only the mighty Fonda cuts through the claptrap; the rest is just a long, predictable trip.
    • 50 Metascore
    • 40 David Fear
    Director Maya Kenig's film never decides whether it wants to be a social satire, a familial drama or a parable about Israeli life during perpetual wartime; that it neither picks a route nor cohesively combines any of those strands doesn't make a fairly generic father-daughter story any more colorful.
    • 57 Metascore
    • 40 David Fear
    This writer-director still has some evolving to do.
    • 65 Metascore
    • 40 David Fear
    Palmer's acknowledgement of his own involvement in, and thrill at watching, these events speaks volumes, but simply showing generations of pasty, fat men pounding each other to a pulp shouldn't be mistaken for an in-depth exploration of Gaelic machismo.
    • 60 Metascore
    • 40 David Fear
    Fightville doesn't pummel you with outsider viewpoints - it doesn't seem to display much of a point of view at all.
    • 63 Metascore
    • 40 David Fear
    There are a million coming-out stories in various naked cities, and filmmaker Bavo Defume's contribution to the genre initially differentiates itself with a vibrant, creatively campy color scheme. Once the visual touches fade away, however, there's nothing to stop the parade of clichés.
    • 57 Metascore
    • 40 David Fear
    As its title suggests, this is more of a self-conscious attempt to court quirky cult-film status. Nice try.
    • 65 Metascore
    • 40 David Fear
    This is little more than an episode of VH1's Classic Albums writ large. You'll learn everything you ever wanted to know about the making of this chart-topping behemoth - except for insights about the man in the mirror who created it.
    • 61 Metascore
    • 40 David Fear
    The one real takeaway here is not that things are tough all over, or that movie stars equate slumming with authenticity; it’s that no actor should be asked to do a sexy dance to Crazy Town’s “Butterfly.” Ever.
    • 52 Metascore
    • 40 David Fear
    Other than giving Almodóvar regulars Carmen Maura and Lola Dueñas plum supporting roles, that's the best you can say about Philippe Le Guay's trite-to-intolerable tale on the discreet eye-opening of the bourgeoisie.
    • 71 Metascore
    • 40 David Fear
    There’s slow-burning, and then there’s simply slow; the difference between the two has never been so apparent.
    • 57 Metascore
    • 40 David Fear
    The historical tragedy that's dramatized is heartrending; the movie itself is merely one cliché piled atop another.
    • 40 Metascore
    • 40 David Fear
    If Gregorini and Von Furstenberg's goal was to construct a cinematic Sunday Styles spread of the plaid-skirt-and-tie crowd, then kudos. As filmmakers, however, these two have some serious growing up of their own to do.
    • 47 Metascore
    • 40 David Fear
    So it's no surprise that what starts out as a beer-soaked cringe comedy about stunted masculinity ends up deep in the woods with noise-loving Japanese tourists and exploding craniums - or that such detours into psychotronic oddity for its own sake can make even a 75-minute running time feel like an eternity.
    • 64 Metascore
    • 40 David Fear
    The more the veteran actor strives to give Joe a final dose of funereal dignity, the more the film around him seems intent on deep-sixing its MVP.
    • 50 Metascore
    • 40 David Fear
    It could have been so much worse; we wish it was a lot better.
    • 58 Metascore
    • 40 David Fear
    Non Stop doesn’t know how to hit it and quit; it’s a rock doc that screams loud and says frustratingly little
    • 55 Metascore
    • 40 David Fear
    Cool, it's a rom-com featuring the man who'd influence Romanticism.
    • 50 Metascore
    • 40 David Fear
    What's surprising is that Rogen and Streisand have a genuinely complementary chemistry, feeding off each other in a way that suggests that, given a halfway decent script, the two would make a better-than-decent screen duo.
    • 52 Metascore
    • 40 David Fear
    Even if you can miraculously avoid comparing this take on rock & roll record maker Leonard Chess (Nivola) to 2008’s similar Cadillac Records, Jerry Zaks’s lukewarm biopic still won’t get your fingers snapping; it’d be a runt in any litter.
    • 29 Metascore
    • 40 David Fear
    [Viewers] won’t find much here besides Langella’s typically austere performance, some lazy character sketches...and the sensation one gets after having watched paint dry, painfully slowly, on a canvas.
    • 63 Metascore
    • 40 David Fear
    Even with incredible fight footage, however, all we have here is a standard if formless ESPN hagiography, complete with a cheesy cop-show score and little sense of who these guys are outside of the ring.
    • 49 Metascore
    • 40 David Fear
    Even by the stultifying standards of everything's-screwed ensemble movies, Joseph Infantolino's thirtysomething drama feels particularly threadbare.
    • 48 Metascore
    • 40 David Fear
    A single arresting shot of a photographer chasing a man on fire says more about journalistic ethics and the queasy power of the image than all of the speechifying and star-posing combined; if only the rest of this muddled movie had as much insightful Sontagian bang.
    • 48 Metascore
    • 40 David Fear
    You get the "girl," but little else; even as a tribute to one woman's determination, this semibiopic screams botched opportunity
    • 60 Metascore
    • 40 David Fear
    These kinds of disease-fueled dramas already tend to be soap-operatic, but Kohlberg isn't taking any chances; by the time father and son end up at a Dead show in matching tie-dyed outfits, the director has aggressively, insistently overplayed audience heartstrings like Jerry Garcia in a long-winded solo.
    • 59 Metascore
    • 40 David Fear
    More than a moral dilemma is needed to make up for the uneven performances, slack pacing and wonky dialogue, and while MacLean certainly has a keen eye, the rest of his storytelling facilities haven't quite caught up with it yet.
    • 42 Metascore
    • 40 David Fear
    What is confusing is why director Catherine Corsini thinks anyone should invest in a po-faced bourgie drama with so little to offer.
    • 52 Metascore
    • 40 David Fear
    Had Patricia Highsmith's Tom Ripley accidentally weaseled his way onto the set of E.R., it might have played out something like Lance Daly's medical-drama-cum-upward-mobility-thriller about a hospital's new resident (and resident sociopath).
    • 36 Metascore
    • 40 David Fear
    There's a secret weapon embedded within The Watch, however, and his name is Richard Ayoade.
    • 47 Metascore
    • 40 David Fear
    It takes more than a few good actors playing bad apples to sustain such familiar romps through regurgitated material. There’s no bounty to be plucked from Perrier’s Bounty. The treasure chest has long since been emptied.
    • 54 Metascore
    • 40 David Fear
    Wah Do Dem simply mopes along before aimlessly stumbling to a halt.
    • 34 Metascore
    • 40 David Fear
    Everything from the script to the film’s score seems stock, and echoes of past victories--Eyre’s dissection of infidelity in "Notes on a Scandal," Neeson and Linney’s chemistry in "Kinsey"--only remind you of what these talents are capable of when the stars actually align.
    • 45 Metascore
    • 40 David Fear
    Given that Sarandon played this same role so sublimely before in "Moonlight Mile," her devolution into theatrical rending of garments and gnashing of teeth is particularly disappointing, but no one--not Brosnan’s shell-shocked–by-numbers patriarch nor Mulligan’s wide-eyed waif--comes out of this steroidal pity party unscathed.
    • 33 Metascore
    • 40 David Fear
    If this is what passes for contemporary art terrorism, we’ll opt instead for something truly subversive--like genuine art
    • 54 Metascore
    • 40 David Fear
    This is a superhero movie that feels like it might have been made by anyone and no one at the same time, simply space-filler before the next big team-up movie.
    • 63 Metascore
    • 40 David Fear
    Reducing an influential genius to a bohemian Zelig with a firearm fetish misses the forest for the flaming metal trees; in Leyser's biographical interzone, the superficial trumps the truly subversive.
    • 76 Metascore
    • 40 David Fear
    This isn’t revisionist history; it’s a key moment in political radicalism reduced to an empty pop-cultural posture.
    • 67 Metascore
    • 40 David Fear
    These guys belong in the avant-odd pantheon. They also deserve a stronger, more penetrating tribute.
    • 48 Metascore
    • 40 David Fear
    It’s a 60-minute documentary that feels like days of watching paint dry.
    • 44 Metascore
    • 40 David Fear
    The film thankfully doesn’t offer some pop-psychology Rosebud to explain Jobs’s drive or near-sociopathic perfectionism, yet we walk away knowing nothing about what made this revolutionary tick.
    • 46 Metascore
    • 40 David Fear
    Caan can’t seem to play up his strengths. He’s a raw talent who needs an editor for his scripts and a strong hand behind the camera guiding him. Mercy gives our guy neither.
    • 60 Metascore
    • 40 David Fear
    Documentarian Jon Foy spent a decade following both the phenomenon and those who've tried cracking the code, and while his film offers little in the way of answers, it says volumes about delusional obsessives.
    • 57 Metascore
    • 40 David Fear
    All the put-upon boorishness of an office drone (Bateman), a chemical-plant manager (Sudeikis) and their sexually harassed buddy (Day) might be forgivable, were Horrible Bosses actually funny instead of sporadically amusing and desperately vulgar.
    • 60 Metascore
    • 40 David Fear
    Throw in some quirky interludes of a Norwegian quartet singing old American spirituals every so often, and you've got something that's truly messy, messy.
    • 53 Metascore
    • 40 David Fear
    Some will call The Color Wheel daring. Others will remember that it takes more than desperate shocks to add substance to the sloppy diddlings of a dilettante.
    • 55 Metascore
    • 40 David Fear
    3
    No matter what the film says about sexual fluidity, you can't shake the feeling that 3 exists primarily to justify a shot of three figures impeccably posed together on a mattress. Everything else is reduced to trumped-up afterthoughts.
    • 52 Metascore
    • 40 David Fear
    So-so contemporary shows and cantankerous arguments are favored over in-depth looks at Reid's legacy. Any genuine weirdness about a funky, filthy-mouthed freak running around in a costume is left AWOL.
    • 52 Metascore
    • 40 David Fear
    Medina is simply content to let the film’s sub-Jarmusch vignettes slow-fizzle to their finishes.
    • 59 Metascore
    • 40 David Fear
    Revenge may be a dish best served cold, as the novel suggested, but steamy adaptations simply can't be doled out lukewarm.
    • 68 Metascore
    • 40 David Fear
    Adding hot naked men to a predictable narrative doesn't equal titillating or taboo; it just means you've dressed up a messy melodrama
    • 46 Metascore
    • 40 David Fear
    Zhang's mixture of unsparing violence, mawkish sentimentality and garish flourishes creates one uncomfortable aesthetic.
    • 36 Metascore
    • 40 David Fear
    Has neither enough bite nor enough heart to sustain it as a female-revenge-fantasy-cum-romantic-comedy; even its “shocking” switcheroo and faux-edgy moments seem remarkably frivolous and flavorless.
    • 64 Metascore
    • 40 David Fear
    Famous fans (Rosanne Cash! Oprah!!!) attest to the book and film's greatness, but at best, this is a half-hour A&E Biography episode padded out to feature-length with forgetful trivia, frustratingly facile history lessons and far too much fawning.
    • 72 Metascore
    • 40 David Fear
    There’s no sense of what Wajeman is after here. A character piece should have some sense of a character’s who, what and why, right?
    • 60 Metascore
    • 40 David Fear
    It's hard to truly hate any movie whose ending revolves around a clever Where's Waldo? gag. It's also near impossible to take it seriously for that exact same reason.
    • 49 Metascore
    • 40 David Fear
    You can’t deny the inspirational qualities of the story or Parker’s screen presence, any more than you could accuse the film of subtlety or of masking its conspicuous pro-Christian agenda.
    • 51 Metascore
    • 40 David Fear
    Atmosphere and acting can't save a script filled with easy-target irony ("Who ever heard of gettin' rich from workin' with computers?") and a plot that telegraphs every left turn miles in advance.
    • 49 Metascore
    • 40 David Fear
    Protektor is simply another in a long line of diluted stories about life during wartime, one whose diminished returns only further trivialize a legacy of real-life horror.
    • 65 Metascore
    • 40 David Fear
    The pomo thrill was already wearing thin a few "Shrek" entries ago; here, the reliance on self-referentiality really risks coming off like yesterday's Purina.
    • 47 Metascore
    • 40 David Fear
    So why does this animated kids' film fail to come together? Bursts of manic pacing steamroll over most of the wit, a little of Sandler's thick-accent shtick goes a looong way, and by the time the requisite life lessons about letting your offspring leave the nest get rolled out, the undead-on-arrival jokes are outnumbered by anemic sitcom gags.
    • 52 Metascore
    • 40 David Fear
    Coyle's got charisma to spare - imagine a hard-man version of Andy Serkis - but even his screen presence eventually gets smothered by the film's cartoonish version of ethnic gangsters, macho caricatures and bruised-heart-of-gold hookers. The phrase accept no substitutes has rarely seemed so applicable.
    • 67 Metascore
    • 40 David Fear
    You can feel Chbosky's blood, sweat and tears oozing out of this highly personal project, but that holy trinity of fluids isn't enough to wash away the sense that you've seen this before - many, many, many times.
    • 48 Metascore
    • 40 David Fear
    Fans of the gritty, era-defining precinct drama will bristle at how the program's realism has been replaced by a generic Tinseltown U.K. slickness. But regardless of whether you’re a longtime devotee or not, you’ll be left saying, “This is The Sweeney? I’ve been rooked.”
    • 62 Metascore
    • 40 David Fear
    The question of whether the couple can overcome respective traumas and inbred social attitudes is essentially moot; the real query is how much insufferable Gallic tweeness you can stand before simply shouting "no, merci!"
    • 59 Metascore
    • 40 David Fear
    Everything from the direction of actors to the dialogue signifies the work of a filmmaker who favors easy audience-baiting reactions over dramatic momentum. Doesn't the man who would later teach Bruce Lee how to kee-yah deserve better than a chopsocky Punch-and-Judy show?
    • 55 Metascore
    • 40 David Fear
    The movie's multitasking creator seems to have bitten off more then she can chew. Her friends should have advised "baby steps."
    • 58 Metascore
    • 40 David Fear
    It's such a haphazard, absent-minded history lesson that you'd think the filmmakers had ingested some of the era's pharmaceuticals before concocting this tribute.
    • 49 Metascore
    • 40 David Fear
    Kudos to Evans for making up for the galling lack of gay African-American screen representation while delivering hot-body eroticism, but reducing complex relationship issues to a typical indie-flick blatherathon—complete with performances of varying quality and stilted dialogue—isn’t helping anyone.
    • 58 Metascore
    • 40 David Fear
    Only Kristin Scott Thomas channeling "In the Loop's" Malcolm Tucker offers a spark; the rest is simply hokum designed to land overly sentimental suckers hook, line and sinker.
    • 44 Metascore
    • 40 David Fear
    Bibliophiles, librarians and graduate students may swoon at the sight of the author's signature grotesquerie.
    • 65 Metascore
    • 40 David Fear
    When the sing-song Jones and beatifically smiling Streep are allowed to carry the dramatic weight, you can see the raw, tough-love film that Hope Springs wants to be - until Frankel starts trying to be lighthearted and cute, at which point you see the movie's real troubled marriage in full bloom.
    • 59 Metascore
    • 40 David Fear
    Unless you really dig "Glee"-level displays of high-school drama geekery, you and your date may want to quickly exeunt.
    • 73 Metascore
    • 40 David Fear
    Viewers who can't get enough of ESPN's "30 for 30" docs will lap up this dual portrait.
    • 52 Metascore
    • 40 David Fear
    300
    A fun-sapped maelstrom without meaning, 300 simply pummels you with endless loops of battle-porn. While you couldn’t classify the movie as entertainment, it might have a long, prosperous future as a Clockwork Orange–style Ludovico Technique.
    • 60 Metascore
    • 40 David Fear
    American Casino tries to connect the big picture regarding a major problem to a human pulse and comes up lacking on both sides. It’s a gamble that simply doesn’t pay off
    • 70 Metascore
    • 40 David Fear
    By the time this modest microindie noir starts laying its cards on the table, your attention will have already folded.
    • 48 Metascore
    • 40 David Fear
    You can probably skip this one and still sleep soundly at night.
    • 65 Metascore
    • 40 David Fear
    Unfortunately, he's retained his previous work's touristy mondo italiano! vibe, all whimsical tunes and postcard scenery, while piling on enough ogling shots of nubile young women to make Hugh Hefner feel uncomfortable.

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