For 510 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 7.6 points lower than other critics. (0-100 point scale)

David Fear's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 35 Shots of Rum
Lowest review score: 20 Who Killed Nancy?
Score distribution:
  1. Negative: 34 out of 510
510 movie reviews
    • tbd Metascore
    • 100 David Fear
    Turning the on-location Tokyo streets into the perfect backdrop for a cartoonishly colorful version of hardboiled drama - call it Pulp Art - House of Bamboo keeps its story line about an undercover Army cop (Stack) battling a gangster (Ryan) on the lean and mean side.
    • 87 Metascore
    • 100 David Fear
    An epic indictment of media manipulation, this avant-doc delivers its coup de grâce once the camera finally demands accountability - leaving the disgraced despot staring into the lens, and the abyss of history staring back into him.
    • 92 Metascore
    • 100 David Fear
    Remains a primo example that cinema actually traffics in truthiness 24 frames per second.
    • tbd Metascore
    • 100 David Fear
    Thirty-six years later, this Molotov cocktail of fizzy champagne and feminist theory has not lost any of its combustible carbonation.
    • 86 Metascore
    • 100 David Fear
    Shindô concocts a stylistic mix of odd experimental flourishes, female nudity, Soviet-style close-ups and baldly sentimental melodrama to emphasize the toll this disaster took; its cup may runneth over, yet the stark vibe is impossible to shake.
    • 92 Metascore
    • 100 David Fear
    To fall in love with it, viewers only have to be receptive to a movie that examines the ties that bind with grace, wit and depth.
    • 73 Metascore
    • 100 David Fear
    There are moments when The Raid: Redemption doesn't feel like an action movie so much as pure action itself, delivered in strong, undiluted doses and with the sort of creative one-upmanship capable of rejuvenating a stale, seen-it-all genre.
    • 81 Metascore
    • 100 David Fear
    Novelistic is a term that gets thrown around a lot these days, but Diaz’s film more than earns the adjective, and you’d have to go back to Edward Yang’s "Yi Yi" to find another movie that approaches a marathon-length running time yet still makes you wish it were twice as long.
    • 99 Metascore
    • 100 David Fear
    Shoah's ultimate legacy, however, is being the final word on the Final Solution-one that renders every well-intentioned dramatic re-creation of such horrors into repulsive Ausch-kitsch by comparison.
    • tbd Metascore
    • 100 David Fear
    Blessed with a weeklong run at the end of Film Forum's bliss-inducing Robert Bresson retrospective, the French filmmaker's 1956 tale of steel bars and iron wills boils a true-story prison break down to its bare necessities.
    • 89 Metascore
    • 100 David Fear
    A paranoid police procedural, a perverse parable about the corrupting elements of power, and a candidate for the greatest predated Patriot Act movie ever, Elio Petri's stunning thriller makes no attempt to hide the culprit behind the film's grisly murder.
    • 81 Metascore
    • 100 David Fear
    Raw
    If "Get Out" reminds folks that you can smuggle intelligent social commentary and timely conversation-starters in to theaters via explosive genre packages, then Ducournau's feature debut doubles down on the notion. In terms of the female-body politic, it's an art-horror dirty bomb.
    • 79 Metascore
    • 100 David Fear
    It’s a near-perfect portrait of a domestic tragedy as a master-and-servant psychodrama, one that leaves catastrophic collateral damage in its wake.
    • 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.
    • 86 Metascore
    • 100 David Fear
    The attention to visuals is above and beyond what most vérité is capable of; doing double duty as the film's cinematographer, Fan demonstrates a pitch-perfect photojournalistic eye.
    • 96 Metascore
    • 100 David Fear
    Though McQueen continues to work his themes of suffering and spiritual transcendence, this unflinching, unforgiving drama is not about a slave, but about slavery itself.
    • 79 Metascore
    • 88 David Fear
    This may be one of the few rockumentaries since Stop Making Sense to tap the cinematic potential of sound and vision in a way that feels genuinely collaborative and borderline transcendental.
    • 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.
    • 81 Metascore
    • 80 David Fear
    These two trash-talkin’ Picassos may or may not end up getting their due, but Leon and his two extraordinary actors (especially Washington) have already put us squarely on the side of the beautiful losers regardless.
    • tbd Metascore
    • 80 David Fear
    Suddenly, everything clicks; this snooty art merchant may love the sound of his own voice, but you're reminded how much Rohmer valued the sound of others' voices above all, and why going out on a whimper occasionally works wonders.
    • 73 Metascore
    • 80 David Fear
    Lyrical touches and the most moving use ever of Katy Perry's "Firework" almost cancel out a cheap-shot third-act tragedy, yet it's the actors that save the film from soaping itself into Euro-miserablist irrelevance.
    • 84 Metascore
    • 80 David Fear
    The Square offers more than just pictures of a revolution; it lets you into the mind-set of those fighting for their future, and that makes all the difference.
    • 88 Metascore
    • 80 David Fear
    Push any guy long enough with alcohol and aggressive masculinity, the film suggests, and you'll find an XY-chromosomed predator lurking behind the mask.
    • 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.
    • 73 Metascore
    • 80 David Fear
    There are no lava-spewing natural phenomena or gut-wrenching slaughterhouse sequences in this unofficial companion piece, but you do witness sex tourists in Bangkok choosing numbered "girlfriends" as if they were picking out lobsters in a tank.
    • tbd Metascore
    • 80 David Fear
    Though it’s divided into three chapters--“Voices,” “Recollections” and “Innocence”--the film takes a largely free-form look at a dying community that’s more reminiscent of Frederick Wiseman’s nonfiction case studies than the usual sociopolitical hand-wringing.
    • 73 Metascore
    • 80 David Fear
    No one else has come close to translating England's homegrown blend of deadpan and madcap for a younger audience, much less with such impressive Claymated technique. You couldn't ask for better lesson in "Anglo-Absurdism for Beginners."
    • 71 Metascore
    • 80 David Fear
    The film occasionally skews a little on the PBS-dry side, but in terms of looking back on a legacy of American skullduggery and high-level shenanigans, its access and acknowledgment of our dark past make for one intimate indictment.
    • 82 Metascore
    • 80 David Fear
    Short Term 12 isn’t without drawbacks, occasionally dipping into a too-neat narrative tidiness and a self-conscious sloppiness. Yet the film’s charms and ability to cut through jadedness despite the subject matter makes it a rarity — a modest indie that’s feels like it’s in it for the long haul.
    • 73 Metascore
    • 80 David Fear
    This documentary raises enough questions about the ends justifying the means during an era of endless war that it earns the right to be called essential viewing.

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