David Sterritt

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For 2,003 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 2.7 points higher than other critics. (0-100 point scale)

David Sterritt's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Mysterious Skin
Lowest review score: 0 Barb Wire
Score distribution:
2003 movie reviews
    • 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
    • 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."
    • 68 Metascore
    • 38 David Sterritt
    Used Cars is full of used characters, used ideas, and used jokes, many of which are in astonishingly bad taste.
    • 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."
    • 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.
    • 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
    • 55 Metascore
    • 38 David Sterritt
    John Hughes pours his usual slickness and sentimentality all over everything. [27 Feb 1987]
    • Christian Science Monitor
    • 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
    • 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.
    • 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
    • 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
    • 89 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
    • 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
    • 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
    • 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.
    • 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
    • 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.
    • 67 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
    • 63 Metascore
    • 25 David Sterritt
    Amiably bland actors can be fun to watch, as Tom Hanks has proved. Freeman is no Hanks, though, and The Hitchhiker's Guide won't boost anyone's career into hyperspace. Or give your mind a workout.
    • 55 Metascore
    • 25 David Sterritt
    The movie is a mish-mash of action-adventure clich├ęs, book-ended with lame attempts at psychological interest. Written, directed, and acted with ham-fisted heaviness.
    • 36 Metascore
    • 25 David Sterritt
    Like the recent "Mona Lisa Smile," this tale could have been an effective feminist fable if it weren't so calculated.
    • 46 Metascore
    • 25 David Sterritt
    Bataille was a serious philosopher as well as a sensation-seeking writer, but you'd never guess his provocative ideas from this updated version.
    • 47 Metascore
    • 25 David Sterritt
    By the time it ended, I'd stopped caring. I suspect most moviegoers will do the same. Here's hoping Shelton scurries back to the athletic world in a hurry.
    • 30 Metascore
    • 25 David Sterritt
    At 225 minutes long, it feels like a trilogy in itself. That wouldn't be a problem if it had energy and imagination, but those qualities are missing, as is any sense of historical or philosophical context.
    • 50 Metascore
    • 25 David Sterritt
    The consequences aren't remotely as comic as they're meant to be.
    • 29 Metascore
    • 25 David Sterritt
    The story takes place in 2013, but you'd hardly know it from the age-old clichés Kevin Costner purloins to tell this overblown action yarn, which relies so heavily on ideas borrowed from John Ford westerns that the Hollywood giant should have been credited as codirector; too bad Costner can't invest them with Ford's kind of life and originality, though.
    • 48 Metascore
    • 25 David Sterritt
    xXx
    The infuriating thing about XXX isn't that it delivers thrills and spills to moviegoers who don't know any better, but that its Hollywood hype reinforces the notion that brain-dead entertainment is what movies are all about.
    • 34 Metascore
    • 25 David Sterritt
    It's picaresque, all right, but full of ethnic stereotypes, and filmed much too blandly to compete with the superb ''Black Stallion'' of a few years ago.
    • 41 Metascore
    • 25 David Sterritt
    De Niro and Hoffman almost give comic life to this brainless, vulgar farce.
    • 50 Metascore
    • 25 David Sterritt
    Most of the characters are one-dimensional, and Avary's over-the-top directing doesn't make them interesting for more than a few isolated moments.

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