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

David Fear's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 A Man Vanishes (1967)
Lowest review score: 20 I Give It a Year
Score distribution:
  1. Positive: 96 out of 504
  2. Negative: 34 out of 504
504 movie reviews
    • 59 Metascore
    • 40 David Fear
    At the very least, this mush pot reminds us that countries other than ours also produce melodramatic mediocrities.
    • 51 Metascore
    • 40 David Fear
    Just because you tart up a typical romantic comedy with trash talk doesn't make it edgy or real.
    • 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?
    • 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.
    • 42 Metascore
    • 40 David Fear
    Whether anyone over the age of 16 will find the film's proud amateurism and choir-preaching personally enlightening, much less profound, is anyone's guess.
    • 50 Metascore
    • 40 David Fear
    Only Leo, always a dependable supporting actor, turns her character into something resembling a three-dimensional person. Watching her tentatively reconnect with her maternal instincts is a welcome surprise. Everything else here just feels like another descent into mediocre Amerindie miserablism.
    • 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.
    • 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.
    • 49 Metascore
    • 40 David Fear
    Even by the stultifying standards of everything's-screwed ensemble movies, Joseph Infantolino's thirtysomething drama feels particularly threadbare.
    • 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.
    • 58 Metascore
    • 40 David Fear
    We know how these bargains turn out, so all we're left to do is watch pretentious exchanges about grief pile up, laugh at the way the movie exploits its Indian-girl-as-innocence-personified notion and wish that Eddie Marsan's giddy cameo as Hell's personal weapons dealer were much, much longer.
    • 51 Metascore
    • 40 David Fear
    This is fertile material for a darkly comic indictment. Instead, we get recycled cynicism (politicians are hypocrites! more dirty money, more problems!) and Spacey's gallery of impersonations-W.C. Fields, Stallone, Reagan-in lieu of a flawed, flesh-and-blood human being.
    • 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.
    • 33 Metascore
    • 40 David Fear
    This tale of a rich brat (Jonet) is a banal, tone-deaf dud.
    • 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.
    • 78 Metascore
    • 40 David Fear
    Porterfield has proved he can do grit and atmosphere. Should the young director ever decide to channel this talent into storytelling with purpose and a point, he might be someone to watch out for.
    • 49 Metascore
    • 40 David Fear
    After the novelty of these backgrounds and comin'-at-ya bits wears off, Mars Needs Moms has to rely on Fogler's obnoxious Jack Black Jr. shtick, a weak subplot involving a '60s-obsessed Martian graffiti artist (Harnois) and rote video-game-y action sequences to carry it along-and that simply won't cut it.
    • 54 Metascore
    • 40 David Fear
    Cracks simply doesn't make the grade.
    • 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.
    • 57 Metascore
    • 40 David Fear
    The historical tragedy that's dramatized is heartrending; the movie itself is merely one cliché piled atop another.
    • 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.
    • 65 Metascore
    • 40 David Fear
    While Bier doesn't offer easy partisan answers, she still dilutes a social issue down to the level of soap-operatic background noise and back-patting platitudes. It-and we-deserve better.
    • 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.

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