David Sterritt
Select another critic »
For 1,981 reviews, this critic has graded:
  • 53% higher than the average critic
  • 2% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 4.8 points higher than other critics. (0-100 point scale)

David Sterritt's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 American Splendor
Lowest review score: 0 Vegas Vacation
Score distribution:
1,981 movie reviews
    • 28 Metascore
    • 38 David Sterritt
    The acting is sincere and the camera work is pretty, but this art-movie variation on "The Sixth Sense" doesn't have enough energy to fulfill the high promise of Berliner's previous picture, the enchanting "Ma vie en rose."
    • 60 Metascore
    • 38 David Sterritt
    In all, it's “Diner,'' female style. Directed by Donald Petrie from a blatantly manipulative screenplay that took four people to cook up. [24 Oct 1988]
    • Christian Science Monitor
    • 53 Metascore
    • 38 David Sterritt
    The message of the film is that life isn't neat and predictable like a well-arranged business trip; yet everything in the picture is so calculated that there's no life to it. [23 Dec 1988, A& L, p.19]
    • Christian Science Monitor
    • 42 Metascore
    • 38 David Sterritt
    Armageddon may sell tickets, thanks largely to a high-powered marketing machine that's been conducting its own countdown for the past several months. But it's not a pretty picture.
    • 62 Metascore
    • 38 David Sterritt
    The Abyss' isn't abysmal, but it's a replay of hits we've already seen - a recycled "close encounters of the wet kind'' with far too few ideas of its own. [18 Aug 1989, Arts, p.10]
    • Christian Science Monitor
    • 41 Metascore
    • 38 David Sterritt
    Verhoeven's lurid thriller has moments of welcome self-parody, but most of the action manages to be sensationalistic, homophobic, and tedious at the same time. [20 Mar 1992, Arts, p.12]
    • Christian Science Monitor
    • 55 Metascore
    • 38 David Sterritt
    John Hughes pours his usual slickness and sentimentality all over everything. [27 Feb 1987]
    • Christian Science Monitor
    • 28 Metascore
    • 38 David Sterritt
    Judged by the standards of ordinary filmmaking, it's as strange, suggestive, and surreal as other Lynch pictures have been. Judged by the standards of Lynch's own career, however, it's amazingly stale and second-hand… [and] contains not a single moment of genuinely felt emotion. [1 Sept 1992]
    • Christian Science Monitor
    • 60 Metascore
    • 38 David Sterritt
    The main performances are generally weak, although the smaller ones are sometimes brilliant, and the yarn never builds much momentum as it leapfrogs from one subplot to another. [28 Dec 1990, Arts, p.14]
    • Christian Science Monitor
    • 74 Metascore
    • 38 David Sterritt
    A second-rate adaptation of the second-rate Choderlos de Laclos novel: two hours of pretty people sitting in pretty rooms and talking about sex. [23 Dec 1988, A& L, p.19]
    • Christian Science Monitor
    • 88 Metascore
    • 38 David Sterritt
    As before, the movie is more impressive for its finely detailed vision of Los Angeles as a futuristic slum than for its story, acting, or message. It's all downhill after the first few eye-dazzling minutes. [2 Oct 1992]
    • Christian Science Monitor
    • 46 Metascore
    • 38 David Sterritt
    The director, Taylor Hackford, doesn't have the cinematic savvy to sustain so many tensions in a meaningful way; and the screenplay strays far over the line between incisive political comment and heavy-handed Red-baiting.
    • 28 Metascore
    • 38 David Sterritt
    Blending animation and live action, this ferocious fantasy is hopelessly vulgar in ways never dreamed of by "Who Framed Roger Rabbit."
    • 45 Metascore
    • 38 David Sterritt
    While the production is attractive in a calendar-photo sort of way, there's not a speck of genuine feeling in its glossy images.
    • 46 Metascore
    • 38 David Sterritt
    The stagebound setting gets boring; the action doesn't build a steady momentum; and the characters do far too much hanging around until the camera's ready to point at them again.
    • 48 Metascore
    • 38 David Sterritt
    The combination of caveman dialogue, overcooked action, and anything-for-an-effect performances is maddeningly crude even by cop-movie standards. [22 May 1987, p.23]
    • Christian Science Monitor
    • 68 Metascore
    • 38 David Sterritt
    The Witches of Eastwick, based on John Updike's novel, takes just about every wrong turn it can find. Perhaps this was predictable, with a wild-driving director like George Miller at the wheel. What's surprising is how many opportunities for vulgarity and stupidity the film invents for itself, even beyond the book's built-in temptations to excess. [12 June 1987, p.21]
    • Christian Science Monitor
    • 65 Metascore
    • 25 David Sterritt
    Rarely have Gibson's tears seemed more fictional than in this supposedly authentic account of a historical event that's far too tragic to merit such superficial treatment.
    • 38 Metascore
    • 25 David Sterritt
    Stoner jokes, awful gags, and just stupid stuff equate to one bad movie.
    • 51 Metascore
    • 25 David Sterritt
    For a movie about people with hugely complicated inner lives, this sadly unconvincing drama stays resolutely on the surface, rarely hinting at anything like an insight or idea.
    • 49 Metascore
    • 25 David Sterritt
    In short, this movie is exactly the kind of starry-eyed escapist fantasy that Dr. Powell suspects Prot of having. It's harmless enough, since we can be cured just by leaving the theater.
    • 53 Metascore
    • 25 David Sterritt
    Action freaks may enjoy the chasing and chomping, but there's no hint of human interest or moviemaking imagination.
    • 48 Metascore
    • 25 David Sterritt
    Khouri's new picture takes all this talent and turns it into the kind of manipulative mush that Hollywood used to market under the condescending label "woman's picture" years ago.
    • 50 Metascore
    • 25 David Sterritt
    The plot is a shameless plea for vigilante violence, and the dignity of the black hero is outweighed by the ethnically marked evil of his Hispanic antagonist. Beneath its crisp veneer, much of the movie is a high-energy hymn to hate.
    • 12 Metascore
    • 25 David Sterritt
    Fans of unregenerate underground moviemaking will have a ball.
    • 33 Metascore
    • 25 David Sterritt
    There's nothing special about this movie -- it's just business as usual for today's debased action-movie genre.
    • 37 Metascore
    • 25 David Sterritt
    Audiences may want their own speedy divorce from this irritating collection of stale jokes, pointless vulgarities, and warmed-over clichés.
    • 43 Metascore
    • 25 David Sterritt
    Has amusing bits of social satire, but they're crowded out of the stable by lots of bathroom and barnyard humor.
    • 53 Metascore
    • 25 David Sterritt
    Add a megadose of bombastic James Horner music and a perfunctory love-affair subplot and you have a movie that's its own worst enemy.
    • 30 Metascore
    • 25 David Sterritt
    So vulgar and incoherent that even Hackman's gifts can't score a touchdown.

Top Trailers