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 5.9 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 Struck by Lightning
Score distribution:
  1. Positive: 96 out of 504
  2. Negative: 34 out of 504
504 movie reviews
    • 63 Metascore
    • 60 David Fear
    A sense of existential dread that would make the Russkie novelist beam is channeled beautifully, but for a filmmaker lauded for his minimalist aesthetic, Omirbayev sure loves broad-stroke symbolism and sloganeering.
    • 58 Metascore
    • 60 David Fear
    The closer we get to a climax (and the more that absurd reversals keep getting piled on), the less effective Dupontel’s brutish charisma is in keeping things interesting and afloat. You pray the next he-man outing makes better use of his presence.
    • 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.
    • 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.
    • 69 Metascore
    • 60 David Fear
    Whether this love letter is more preaching to the converted than a corrective is arguable.
    • 64 Metascore
    • 60 David Fear
    The Italian-born Covi and her Viennese partner keep things breezy, letting real-life theater actor Hochmair go about his backstage business and watching Saabel chat up various locals in dive bars (you can tell the filmmakers cut their teeth making docs).
    • 63 Metascore
    • 60 David Fear
    What Lilti’s cinematic mural does is remind us that the political is always personal—and in Israel’s case, vise versa.
    • 58 Metascore
    • 60 David Fear
    You don’t have to be a filmmaker or a festival veteran to appreciate Sophie Letourneur’s tale of three women cruising for dudes at Locarno’s annual cinematic shindig, but trust us: It helps immensely.
    • 57 Metascore
    • 60 David Fear
    As with his previous film Golden Door (2006), Crialese proves that he’s more adept when evoking a lyrical naturalism practiced by his directorial ancestors than when he’s hand-wringing over social issues.
    • 61 Metascore
    • 60 David Fear
    Hollywood loves these apocalypse-soon stories, however, because they function as blank canvases for ruin porn, and if nothing else, Neill Blomkamp’s Elysium gives us the realistically trashed tomorrow we suspect we deserve.
    • 64 Metascore
    • 60 David Fear
    Better to think of this as a star vehicle for Farahani, who almost single-handedly carries the film; the range the Iranian actor displays here proves that she’s destined for bigger things. Fans will just have to be patient.
    • 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.
    • 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.
    • 60 Metascore
    • 60 David Fear
    The gorgeous cinematography and generosity to Plummer’s emotive gifts almost make up for the mumbo-jumboness of it all. Almost.
    • 51 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.
    • 40 Metascore
    • 60 David Fear
    Though there’s no shortage of biographies on the notoriously private writer, no one has had the stones to try making a comprehensive visual documentary on someone as camera-aversive as the Catcher in the Rye author. The effort itself should be applauded.
    • 59 Metascore
    • 60 David Fear
    Until someone delivers the definitive 360-degree chronicle on the populist uprising, this collection of dispatches from the front is the best primer you could hope for.
    • 67 Metascore
    • 60 David Fear
    While Stephenson and Brewster’s big-picture attempt to tackle a sociopolitical issue from the most personal of perspectives lacks the state-of-the-nation impact of that landmark doc, it doesn’t mean you won’t feel the pleasure of these kids’ triumphs, the pain of their tragedies or the pressures of ambition, affecting parents as much as students.
    • 48 Metascore
    • 60 David Fear
    For every camp element like Javier Bardem’s rainbow-vomit outfits or Diaz’s onanistic tryst with a car windshield, there are a dozen poetic-pulp moments that channel McCarthy’s pitiless view of the world to a tee.
    • 71 Metascore
    • 60 David Fear
    Both Baetens and Heldenbergh do their best to sell the story’s ups and downs even when the narrative gets bogged down with science-versus-religion ranting, yet you’re still left with a movie a little too reliant on playing clawhammer on your heartstrings.
    • 59 Metascore
    • 60 David Fear
    The leads’ chemistry and a wonderful pulp weariness that feels straight out of, say, George Pelecanos’s novels makes up for a lot, yet despite the class-conscious genre pleasures, independent cinema’s foremost Zinn master feels slightly off his game.
    • 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.
    • 55 Metascore
    • 60 David Fear
    Even with the actors’ laudable work—especially Simm, who finally shakes off the notion that he’s a poor man’s Simon Pegg—there’s not enough going on past the temporal trick to make the humanistic elements pop. Gimmick aside, the title is regrettably apropos.
    • 70 Metascore
    • 60 David Fear
    You walk away with far more questions than answers — a profile foul by any other name.
    • 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.
    • 76 Metascore
    • 40 David Fear
    This isn’t revisionist history; it’s a key moment in political radicalism reduced to an empty pop-cultural posture.
    • 44 Metascore
    • 40 David Fear
    There’s something admirable about the anything-goes energy that Van Peebles brings to this tall tale, but the amateurishness and Video Toaster–era technical tricks start to grate after a bit. It’s a funky, free-form fairy tale, but one that only a mutha could truly love.
    • 28 Metascore
    • 40 David Fear
    It’s unfair to blame Hess solely for condescension comedy’s bad aftertaste--he’s not the only perpetrator--but his particular brand is the most graceless.
    • 42 Metascore
    • 40 David Fear
    This slapdash parody will simply inspire shrugs.
    • 60 Metascore
    • 40 David Fear
    American Casino tries to connect the big picture regarding a major problem to a human pulse and comes up lacking on both sides. It’s a gamble that simply doesn’t pay off