For 504 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 6.1 points lower than other critics. (0-100 point scale)

David Fear's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 Daisies (1966)
Lowest review score: 20 Programming the Nation?
Score distribution:
  1. Positive: 96 out of 504
  2. Negative: 34 out of 504
504 movie reviews
    • 71 Metascore
    • 60 David Fear
    The best thing you can say about the movie is that you couldn’t accuse it of being a sellout — nor would you think it was a Joe Swanberg movie.
    • 77 Metascore
    • 60 David Fear
    Whenever the film focuses more on Jarecki's hand-wringing than deconstructing the war itself, you wish someone would have looked the filmmaker in the eye and just said no.
    • 61 Metascore
    • 60 David Fear
    It’s hard to say if Faith works better as part of a whole instead of a triptych’s single panel until the trilogy is complete, but the unconverted may find this too much of a cross to bear.
    • tbd Metascore
    • 60 David Fear
    An overall lack of drive drops the pacing from languorous to a slow, stalled crawl, but the journey itself isn’t the point here. For once, it’s the destination--forgiveness--that really counts.
    • 63 Metascore
    • 60 David Fear
    Go big or go home, they say; World War Z picks the wrong choice for its slow fade-out, and, instead of leaving you in fear of being chomped upon as you exit the theater, makes you feel enraged that you’ve been more than a little cheated.
    • 67 Metascore
    • 60 David Fear
    Even if you can forgive the crude JAP caricatures (et tu Minnie Driver?) and the blatantness of the film's attempts to make you sob, you're still left with lovely actors stuck in a lackluster cover version of the real thing.
    • 74 Metascore
    • 60 David Fear
    Those unfamiliar with Verdi’s tragedy won’t understand why this production was significant, nor see much of the fruits of such hard work; those onstage may become La Traviata’s tragic characters, but it’s tough not to feel that we, the audience, leave only half-transformed.
    • 64 Metascore
    • 60 David Fear
    The problem is that the film also refuses to move beyond a glacial pace, and its choice to go slow-and-low doesn’t scream art-house aesthetic so much as unintentionally sluggish. For such a small character study, that decision ends up being a doozy of a deal breaker.
    • 61 Metascore
    • 60 David Fear
    Taking a page--or rather, several chapters--from the Eastern European art-house playbook, Hungarian filmmaker Kornél Mundruczó works this stock tale into a deliberately paced parable of desire and dread.
    • 74 Metascore
    • 60 David Fear
    This antibullying advocacy group could not be more well-intentioned or needed, but suddenly, the sneaking suspicion that you've merely been watching an extended PSA for the grassroots organization starts to take hold.
    • 46 Metascore
    • 60 David Fear
    You could get whiplash watching this bipolar drama jerk between extremes: For every extraordinary scene - such as an authentically awkward exchange between Bosworth and estranged dad Thomas Haden Church - there's a sequence or three that might be extended collegiate acting exercises.
    • tbd Metascore
    • 60 David Fear
    The result is less an ode to late-'60s California dreamin' than an NYC-hip riff on SoCal somnambulism, one that occasionally Pops with Warhol's mondo minimalism yet never snaps nor crackles. "Lonesome Cowboys" this is not, despite the fact that Surf uses virtually the same cast.
    • 76 Metascore
    • 60 David Fear
    It ain’t bad, though all that detritus detracts from a far more interesting history lesson on repression and rebellion that’s left on the periphery.
    • 78 Metascore
    • 60 David Fear
    Like fellow countryman Park Chan-wook's vengeful epics, this man-on-the-run thriller knows how to deliver a rush; unlike those superior tales of lives on the edge, that's the only trick up its sleeve.
    • 66 Metascore
    • 60 David Fear
    Kids will squeal with delight. Adults will smile indulgently at the mildness of it all.
    • 65 Metascore
    • 60 David Fear
    You’ll learn that karaoke is an effective rehab tool; that their dad, Richard, the film’s real hero, molded his daughters into fierce competitors; and that Venus and Serena actually do love each other. Anyone looking for deeper insights than that or into what really makes this twosome tick will find themselves at a real disadvantage.
    • 50 Metascore
    • 60 David Fear
    Old-school intrigue, informants and assassins, life-or-death pursuits in crowded places, characters who are adults and do not wear capes or pilot robots: This is pretty much what any filmgoer over the age of 13 pines for in the dog days of summer, so this courtroom melodrama/surveillance thriller should be manna.
    • 68 Metascore
    • 60 David Fear
    Every time the narrative's underworld schnooks and low-level lowlifes edge their way out of the periphery, a sense of snorting impatience takes over. This is Jacky's story, and when he's grabbing Bullhead by the horns, you don't want him to let go.
    • 58 Metascore
    • 60 David Fear
    Consider the movie a testament to Rahim's screen presence. If nothing else, Free Men proves that the can't-take-your-eyes-off-him charisma the Franco-Algerian actor displayed in Jacques Audiard's "A Prophet" was no fluke.
    • 51 Metascore
    • 60 David Fear
    It’s gratifying to see Eisenberg move past nerdy-cutie parts; his slim shoulders, it seems, are capable of handling more than Michael Cera’s leftovers.
    • 63 Metascore
    • 60 David Fear
    Amigo's penchant for polemics keeps upsetting any semblance of balance; how can anyone hear the grace notes when the soapboxing is so deafening?
    • 56 Metascore
    • 60 David Fear
    An attempt to detail the plight of North Koreans in their new homeland, The Journals of Musan doesn't soft-pedal the hardship; Park, however, apparently felt obligated to stack the deck against the film's passive protagonist to a ridiculous degree.
    • 71 Metascore
    • 60 David Fear
    The film's dogged repetitions regarding Nannerl's real-life raw deal dilute the reparative nature of the story after a while, and not even the movie's grainy, retro–art-cinema look can keep viewers from gradually tuning out.
    • 87 Metascore
    • 60 David Fear
    Creepy doesn't begin to describe these masterworks of control freakery, nor does beautiful - they look as if they're glowing from the inside out, even as Crewdson's scenes of furtive common people make viewers feel like voyeurs.
    • 76 Metascore
    • 60 David Fear
    Anyone curious about the man behind the lens may find this doc, like its subject, frustratingly opaque and out of reach. Those interested in witnessing a true NYC eccentric document everyday-people city life one outfit at a time, however, will feel like this has been tailor-made.
    • 42 Metascore
    • 60 David Fear
    The movie misses the Hughes sensitive-raunch sweet spot, though a game supporting cast hits bull's-eyes on lesser targets.
    • 86 Metascore
    • 60 David Fear
    If the overall effect of Nebraska’s father-son bonding and attention-must-be-paid pathos doesn’t quite have the zing of the filmmaker’s best work, he’s certainly got an ace in the hole.
    • 71 Metascore
    • 60 David Fear
    The result is neither blind idolatry nor a definitive portrait; just a major missed opportunity content to loiter in the middle of the road.
    • 74 Metascore
    • 60 David Fear
    You know the money-over-morality argument will eventually tilt toward righteousness, yet the film's turn toward charcoal-sketch notions of good and evil only fuels a simplistic view of historical tragedy in the worst sort of way.
    • 81 Metascore
    • 60 David Fear
    The plentiful pop-doc touches ensure that this wake-up call won't put you to sleep, even if the ratio of spoonfuls of sugar to medicine occasionally seems skewed.

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