For 505 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 7.7 points lower than other critics. (0-100 point scale)

David Fear's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 Investigation of a Citizen Above Suspicion [re-release]
Lowest review score: 20 Answers to Nothing
Score distribution:
  1. Positive: 96 out of 505
  2. Negative: 34 out of 505
505 movie reviews
    • 52 Metascore
    • 40 David Fear
    300
    A fun-sapped maelstrom without meaning, 300 simply pummels you with endless loops of battle-porn. While you couldn’t classify the movie as entertainment, it might have a long, prosperous future as a Clockwork Orange–style Ludovico Technique.
    • 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
    • 70 Metascore
    • 40 David Fear
    By the time this modest microindie noir starts laying its cards on the table, your attention will have already folded.
    • 48 Metascore
    • 40 David Fear
    You can probably skip this one and still sleep soundly at night.
    • 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.
    • 52 Metascore
    • 40 David Fear
    So it’s no surprise that, even with longtime screenwriter Ruth Prawer Jhabvala watching his back, the director never finds his groove with Peter Cameron’s tale.
    • 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.
    • 39 Metascore
    • 40 David Fear
    Bouchareb gives his actors room to roam, but you still get only skin-deep sketches instead of flesh-and-blood women.
    • 44 Metascore
    • 40 David Fear
    The rest of us will just be left to puzzle over Aniston’s exhibitionism obsession and pray that Sudeikis’s smirking-douche leading-man shtick won’t constitute his entire post-SNL career.
    • 61 Metascore
    • 40 David Fear
    Both Rock and Delpy the actor invest so much in their respectively harried, recognizably human urbanites that you wonder why Delpy the director keeps undermining things by engaging in easy Gallic caricatures and generically Gotham-ming it up at every opportunity.
    • 54 Metascore
    • 40 David Fear
    There’s one bright spot amid all the awkward groping and abundant onscreen texting, and his name is Zach Gilford.
    • 52 Metascore
    • 40 David Fear
    Schemel is a major rock & roll survivor; Hit So Hard is a minor rockumentary at best, as well as a seriously missed opportunity.
    • 51 Metascore
    • 40 David Fear
    Lovers of the TV biker drama may find pleasure in the duo's surreal scenes together, but everyone else will likely view this story about a writer (Hunnam), his film-obsessed drug-addict brother (Chris O'Dowd) and a viral amateur-porn movie as one limp farce.
    • 35 Metascore
    • 40 David Fear
    No matter how may times Identity Thief switches tracks, nothing works — it fails as a star vehicle, a recession-era satire, a WTF white-collar-grunt revenge tale, a "Midnight Run"–style buddy flick, a gross-out laughfest and a bathetic tale of broken souls. No amount of stolen guises can fix it.
    • 67 Metascore
    • 40 David Fear
    The pleasure of watching the star sling barbs at Sarsgaard's sandpaper-dry android, shyly court sexy librarian Susan Sarandon and rage against geriatric befuddlement doesn't offset what's essentially a mediocre character study dipped in sci-fi conventions and Social Security–age sentimentality.
    • 50 Metascore
    • 40 David Fear
    When Canet isn't dabbling in schmaltz, he's forcing text-message gags and metaphor-heavy vermin jokes down viewers' throats in a lame attempt at levity. Emotional fraudulence does indeed constitute a lie, just not a white one.
    • 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
    • 52 Metascore
    • 40 David Fear
    This is a movie too enamored of its own tawdriness, turning every violent act and violation into gratuitously salacious grindhouse set pieces.
    • 55 Metascore
    • 40 David Fear
    Even with Gallic neomusical royalty like Catherine Deneuve joining in the fray, the whole endeavor reeks of the filmmaker throwing everything against the wall yet barely making anything stick.
    • 47 Metascore
    • 40 David Fear
    Such passé testosterone worship might have been passable if the filmmaking weren’t so amateurish--every emotional exchange is accompanied by insipid, high-volume pop songs--and the film’s self-satisfied chest-thumping didn’t extend to its creator as well.
    • 37 Metascore
    • 40 David Fear
    The books' ingenious wunderkind is MIA here, replaced instead by a generic eye-rolling, motormouthed preteen bopping around rote set pieces.
    • 69 Metascore
    • 40 David Fear
    A former stand-up comic, Miller lends a sense of puckish mischief to his tenderhearted, troubled Cupid, yet everything else about this drama - even the cultural and spirit-of-'68 historical touches - feels like Nesher is simply mashing several stock elements together and gracelessly parading them around.
    • 52 Metascore
    • 40 David Fear
    Huppert fans have long been tolerant of her hit-and-miss filmography, and while her double act with the rubber-faced Poelvoorde provides a few well-played scenes-two words: horsey rides-it's not enough to liven up a trite story of loosening up.
    • 49 Metascore
    • 40 David Fear
    The pity is that the people in People Like Us ultimately don't feel any more dimensional than the archetypes dutifully dotting his lowest-denominator multiplex fodder. He's just picked a different set of clichés to ransack.
    • 73 Metascore
    • 40 David Fear
    Mea Maxima Culpa only gets messier the more it tries to iris out to a larger indictment. The central tragedy ends up diluted to a fault.
    • 54 Metascore
    • 40 David Fear
    Though the director includes a few brief humdingers — a fight that involves a Rube Goldberg–ish tangle of wires; some munitions-fueled mayhem in a farmhouse — it’s not enough to keep viewers from wishing they were thumbing through a John le Carré novel instead.
    • 61 Metascore
    • 40 David Fear
    This isn't a film, it's a recording of canned ham-tasty, certainly, but creaky nonetheless.
    • 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.
    • 35 Metascore
    • 40 David Fear
    Their brotherly bickering may be a useful time killer until the new Arrested Development episodes drop, but it's ultimately foamy filler added to a frustratingly frothy film that says nothing about its subject.
    • 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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