For 516 reviews, this critic has graded:
  • 21% higher than the average critic
  • 2% same as the average critic
  • 77% lower than the average critic
On average, this critic grades 7.9 points lower than other critics. (0-100 point scale)

David Fear's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 Last Train Home
Lowest review score: 20 Bert Stern: Original Madman
Score distribution:
  1. Negative: 34 out of 516
516 movie reviews
    • 76 Metascore
    • 60 David Fear
    Part alt–art-history lesson and part pilot for CSI: The Louvre, Peter Greenaway’s deconstruction of Rembrandt’s 1642 painting The Night Watch contends that the work is--after the Mona Lisa, Da Vinci’s The Last Supper and the ceiling of the Sistine Chapel--the fourth best-known artwork in the world.
    • 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.
    • 76 Metascore
    • 60 David Fear
    You’ll leave knowing slightly more about the who, what and why of WikiLeaks; you’ll also wish the whole shebang didn’t fell like such a tone-deaf data dump overall.
    • 76 Metascore
    • 80 David Fear
    This surreal, sentimental journey does provide an excellent encapsulation of everything Ruiz did best: oddball takes on highbrow lit and lowbrow genre conventions, guided tours of characters’ mazelike memory banks, and a reveling in film culture that doubles as a cinephile’s wet dream.
    • 76 Metascore
    • 60 David Fear
    Easily the most gracefully performed grief-porn you'll see this season.
    • 76 Metascore
    • 60 David Fear
    For all of Dead’s beards and dirtiness, you never get over the feeling that you’re watching modern actors play frontier-drama dress-up. It’s a deathblow.
    • 76 Metascore
    • 80 David Fear
    Every so often, you get the gift of watching an under-the-radar actor bloom into a critical-mass phenomenon before your bloodshot eyes: Franka Potente in "Run Lola Run," or Christoph Waltz in "Inglourious Basterds." Add Noomi Rapace to the list; what she does with the title character of this Swedish thriller-cum-pop-lit-adaptation will spawn cults of swooning Rapacephiles stat.
    • 75 Metascore
    • 60 David Fear
    Look elsewhere if you want a linear timeline of Sebald's life or don't possess that titular virtue; everyone else will want to make a beeline to their local bookstore.
    • 75 Metascore
    • 60 David Fear
    It's obvious from Easy Money why Espinosa would be going places. So long as he takes Kinnaman with him, the gentleman can have our hard-earned cash.
    • 75 Metascore
    • 80 David Fear
    An American remake is already being prepped. We suggest Hollywood simply cries uncle now and calls it a day.
    • 75 Metascore
    • 60 David Fear
    His “treason” gave credence to ending the war, helped push a corrupt administration toward its ruin and underlined the importance of the First Amendment. Rickety doc or not, Ellsberg deserves every ounce of hero worship he gets here.
    • 75 Metascore
    • 60 David Fear
    The result is erratic, occasionally WTF hilarious (three words: revenge by panther!), and in its transgressive tracks-of-my-tears climax, capable of finding pleasure in being bat-shit crazy.
    • 75 Metascore
    • 60 David Fear
    Wiig comes out a winner, but nothing is worse than watching a perfect marriage of performer and material get so perversely undermined.
    • 75 Metascore
    • 60 David Fear
    These victims are now no longer invisible-an achievement that shouldn't be dishonorably dismissed.
    • 75 Metascore
    • 80 David Fear
    This is humanistic drama done right.
    • 75 Metascore
    • 80 David Fear
    A cross-pollinated mixture of Hollywood-blockbuster bombast, Asian cool and '60s Vegas ring-a-ding swing.
    • 75 Metascore
    • 60 David Fear
    Bakri has charisma to burn, but the complexity of Abu-Assad’s previous movies is traded in for weak genre thrills.
    • 74 Metascore
    • 60 David Fear
    The whole notion of taking a page out of the Bressonian handbook (nonprofessional performers, a complete lack of emotionalism) lends a spiritual aspect to this antihero’s plight, with neither social neglect nor a battered corpus keeping his soul from transcending the self. Reaping the benefits of such a minimalist methodology, however, requires a high tolerance for Porfirio’s pitiless formalism.
    • 74 Metascore
    • 80 David Fear
    Tomboy may add little to conversations about gender or sexuality. It has everything to say, however, about that period of childhood when identity is at its most malleable.
    • 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.
    • 74 Metascore
    • 80 David Fear
    It’s to the filmmakers’ credit that we also see how insecurity and proximity to fame both drove him and drove him crazy, resulting in a layered look at a man who was a jack of all trades, but a master of one: being George.
    • 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.
    • 74 Metascore
    • 80 David Fear
    Neither Reilly nor Tomei have ever seemed so effortlessly funny, and whoever thought to cast one of Judd Apatow's regulars as a dysfunctional, disturbed manchild should be dubbed a genius.
    • 74 Metascore
    • 60 David Fear
    Imagine a male Lifetime movie fueled by Middle Eastern tensions, and you’d have Ziad Doueiri’s torn-from-Tel-Aviv’s-headlines melodrama, one which drops its handsome husband of a hero into a domestic nightmare.
    • 74 Metascore
    • 100 David Fear
    The final KO of a brilliant cinematic one-two punch, Leos Carax’s follow-up to his gobsmacking feature debut, Boy Meets Girl (1984), proved this enfant terrible was no one-hit wonder. Boy still meets girl, in the form of feral Denis Levant and gorgeous Juliette Binoche, but this sophomore outing’s real romantic coupling is an artist swooning head over heels for his medium.
    • 74 Metascore
    • 60 David Fear
    Overambitiousness can turn a valentine into hot air and white noise, but it can also serve as a calling card for an artist finding his pitch—and Nance is indeed an artist, pure and simple.
    • 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.
    • 74 Metascore
    • 60 David Fear
    You could chalk this kid’s flick up as another manic Saturday-matinee time killer if it weren’t for a singularly impressive element. It’s not the stretchy, lava-lamp–ish animation, which offers the usual in-your-face 3-D tricks.
    • 74 Metascore
    • 80 David Fear
    It’s both a sly piece of ethnography and a social satire that reads like a cosmic joke…right up until its climax makes the chuckle catch in your throat.
    • 74 Metascore
    • 80 David Fear
    Ping-ponging between grisly South of the Border carnage and Angeleno musician Edgar Quintero’s growing success as one of the subgenre’s stars, you start to see how this parasitic relationship works.

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