For 525 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: 55
Highest review score: 100 Daisies (1966)
Lowest review score: 20 Now & Later
Score distribution:
  1. Negative: 35 out of 525
525 movie reviews
    • 67 Metascore
    • 80 David Fear
    It's a credit to both the actors and Franco-Algerian filmmaker Rachid Bouchareb (Days of Glory) that the film never dives headfirst into mawkishness.
    • 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.
    • 67 Metascore
    • 60 David Fear
    At its best, Outrage offers a meat-and-potatoes look at an age when battles of honor and humanity are AWOL in yakuza society. As things wind toward the inevitable hierarchical breakdown, however, the movie too often resembles a repetitive cycle of tough guys shouting, shooting and shuffling off this mortal coil.
    • 67 Metascore
    • 60 David Fear
    Such overall familiarity makes the over-the-top soap-operatic elements, such as a histrionic screamathon between mom and daughter, that much more grating-and Hrebejk's upending of cathartic clichés that much more gratifying.
    • 67 Metascore
    • 80 David Fear
    R
    This unflinching parable brings the hammer down on its cinematic brethren's fetishization of cell-block Rockefellers. R's final shot says it all: The house wins. The house always wins.
    • 67 Metascore
    • 60 David Fear
    The difference between a movie about emptiness and an empty movie becomes abundantly clear.
    • 67 Metascore
    • 60 David Fear
    As a micro-to-macro tour of Germany's fraught relationship with its Jewish citizens, In Heaven Underground couldn't be more connective; as a straight doc, its aesthetic choices couldn't be more confusing.
    • 67 Metascore
    • 60 David Fear
    Given the way the film consistently relies on the talented actor's left-of-center charms, you end up with a cake-and-eat-it-too critique: You get to acknowledge how one-dimensional the male fantasies of hot nerd-messiah chicks are while basking in exactly the same thing. Nice try.
    • 67 Metascore
    • 40 David Fear
    Never finds a common ground between the fantastic and the heartfelt. Such unintegrated flip-flopping between a muted character study and a horror flick relying on cheap scare tactics leaves you feeling mildly schizophrenic
    • 66 Metascore
    • 60 David Fear
    You just wish the moviemaking were as consistently graceful and momentum-fixated as the film's rail-grinding subjects.
    • 66 Metascore
    • 60 David Fear
    The old-fashioned vibe, in fact, does more than just distinguish the story of skinny runt turned supersoldier Steve Rogers (Evans) from every other comic-book movie out there, though its fetishization of retro-techno gizmos and getups-call it leatherbucklepunk-immensely adds to the fun.
    • 66 Metascore
    • 60 David Fear
    Kids will squeal with delight. Adults will smile indulgently at the mildness of it all.
    • 66 Metascore
    • 60 David Fear
    The combination of provincial accents and Stormare's patented creepiness make "Fargo" comparisons inevitable, though Canadian filmmaker Ed Gass-Donnelly's tongue isn't anywhere near his cheek.
    • 66 Metascore
    • 80 David Fear
    The more Shepard & Dark rewinds through their shared history, the more the film blossoms into something far richer than a simple tribute to a long, beautiful friendship—it becomes an ode to a long-lost era of bohemia, an insightful look into male psychology and pathology, a valentine to the art of letter writing and an illustration of how the past is never dead, because it’s not even past.
    • 66 Metascore
    • 60 David Fear
    As a thriller, however, the film only comes alive in fits and starts.
    • 66 Metascore
    • 60 David Fear
    The ugly Americanism gets piled on thick - racists, dickwads and ignoramuses, oh my! - but there's a melancholy to this indie's cross-cultural explorations and communication breakdowns that compensates for the broader swipes.
    • 66 Metascore
    • 40 David Fear
    Strange Powers works best when inadvertently capturing the toll of living in the shadow of a genius. When it comes to examining the genius himself, it's woefully out of tune.
    • 66 Metascore
    • 60 David Fear
    Guerrero's handling of the bond between these two teens feels too coy by half; the film thankfully resists being either a typical coming-out movie or an ethnocultural curio, but it doesn't offer much insight into the twosome's attraction, platonic or otherwise, to each other.
    • 66 Metascore
    • 60 David Fear
    It's best to just let the silly-to-spectacular set pieces fly by you and-tastes permitting-enjoy the Karo Syrupped ridiculousness on display.
    • 66 Metascore
    • 80 David Fear
    An Austrian actor whose Easter-Island mug has graced movies such as the Oscar-nominated "The Counterfeiters" (2007), Markovics shows a keen attention to performers that you'd expect from a thespian-turned-director.
    • 66 Metascore
    • 60 David Fear
    Deadpan clownishness is The Fairy's raison d'être and its superior mode; when the lovey-doveyness turns cloying and the atrophied message-mongering creeps in, you wish the threesome knew when to keep their traps shut.
    • 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.
    • 65 Metascore
    • 60 David Fear
    What does resonate is how the film captures McCartney in laid-back ambassador mode, walking around in midtown and turning big names into awestruck fanboys.
    • 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.
    • 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.
    • 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.
    • 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.
    • 65 Metascore
    • 20 David Fear
    The "bumpkins are people too" message will certainly please the Appalachian Anti-Defamation League; midnight-movie fans, however, will recognize that this mess misses the mark by a country mile.
    • 65 Metascore
    • 80 David Fear
    The importance of Tiesel’s performance here can’t be overstated, and even during what is easily the most excruciating birthday-party scene involving cock ribbons ever, the actor lends an incredibly profound sense of sorrow to the film’s pitilessness.
    • 65 Metascore
    • 60 David Fear
    Far be it from us to deny the director his deserved catharsis or to dissuade someone from speaking out about abuse. Still, Family Affair feels less like a documentary than one man's filmed therapy marathon, to which you're voyeuristically privy in an oversharing-on-Oprah sort of way.

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