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 6.4 points lower than other critics. (0-100 point scale)

David Fear's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 Norte, the End of History
Lowest review score: 20 Answers to Nothing
Score distribution:
  1. Positive: 96 out of 504
  2. Negative: 34 out of 504
504 movie reviews
    • 49 Metascore
    • 40 David Fear
    The disparity only makes Reeves's earnest-but-monotonous turn that much more pronounced-and the film that much more dismissible.
    • 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.
    • 57 Metascore
    • 40 David Fear
    Thor accomplishes its essential goal and little else, which is to introduce the mighty warrior to the Marvel screen universe.
    • 50 Metascore
    • 40 David Fear
    Given how prominent the postcard sultriness of her backdrop is compared with the story's emotional ping-pong, all she ends up with is a kinder, chicer Adrian Lyne movie.
    • 55 Metascore
    • 40 David Fear
    Once this cultural exploration devolves into just a forum for grating geek griping and Jar-Jar Binks hatred, however, you'll wish you could escape to a galaxy far, far away.
    • 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.
    • 54 Metascore
    • 40 David Fear
    Whistle-blowing works best without gratuitous pop-doc debris, but there are only so many dry, fact-heavy testimonies from engineers you can take before a certain dullness uneasily settles in.
    • 62 Metascore
    • 40 David Fear
    While the filmmaker may favor a classic Amerindie art-house style - shaky cameras, peekaboo framing, fill-in-the-gaps storytelling - he doesn't offer much in the way of corresponding insight regarding this social-issue case study, preferring to just construct a bare-bones stage on which his gifted performers can rage.
    • 52 Metascore
    • 40 David Fear
    A favorite at this year's SXSW, Kyle Smith's real-time look at curdled relationships is a modest take on indie psychodramatics - and little else.
    • 37 Metascore
    • 40 David Fear
    The books' ingenious wunderkind is MIA here, replaced instead by a generic eye-rolling, motormouthed preteen bopping around rote set pieces.
    • 36 Metascore
    • 40 David Fear
    Ugh! For a movie devoted to an alleged geek-rebel underdog, this coming-of-age flick couldn't be more conformist, from its familiar faux quirk to the interchangeable emo-pop songs peppering each sugary montage.
    • 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.
    • 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!"
    • 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.
    • 42 Metascore
    • 40 David Fear
    Set mostly in modern-day Shanghai and involving two other girlfriends (also Li and Jun), this parallel plot feels less like an attempt to broaden the book's horizons than to cash in on "Joy's" cross-generational appeal while doubling down on cheap-shot melodrama.
    • 54 Metascore
    • 40 David Fear
    While Fischer handles every emotional curveball, she's not helped by the film's reliance on rote notions of piecing your life back together. Is it worth putting a good actor through the screen-martyrdom wringer for a minuscule payoff?
    • 52 Metascore
    • 40 David Fear
    This is a movie too enamored of its own tawdriness, turning every violent act and violation into gratuitously salacious grindhouse set pieces.
    • 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.
    • 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
    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.
    • 65 Metascore
    • 40 David Fear
    The closer this parable inches toward tragedy, the more you can feel the gap between good intentions and generic exotica-grandstanding widening into an unbridgeable chasm.
    • 49 Metascore
    • 40 David Fear
    Director Jeanne Labrune (Vatel) makes the most out of having a compellingly watchable movie star at her disposal, but neither some odd stabs at humor nor Huppert's versatility do much to enliven what's essentially a superficially sexed-up soufflé.
    • 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.
    • 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.
    • 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.
    • 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.
    • 44 Metascore
    • 40 David Fear
    A few awesome firefights does not an action film make, and even De Niro's Ronin-esque interlude can't shake the feeling that the thrill, like the '80s, is gone.
    • 43 Metascore
    • 40 David Fear
    Childers's varied, charitable life story warrants a movie, but whether that means it's okay to simply mash up sappy Christian piety and action-movie chaos is highly debatable.
    • 50 Metascore
    • 40 David Fear
    Barkin may be the equal of Gena Rowlands or Liv Ullmann. Her director's clumsiness, however, suggests he isn't fit to hold Cassavetes's or Bergman's old camera cases.

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