David Sterritt

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For 1,984 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 points higher than other critics. (0-100 point scale)

David Sterritt's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Elf
Lowest review score: 0 Barb Wire
Score distribution:
1984 movie reviews
    • 79 Metascore
    • 50 David Sterritt
    As a zoological spectacle the movie is riveting. But the narration tries to make us think of these adorable animals as if they saw the world in human terms.
    • 79 Metascore
    • 75 David Sterritt
    De Felitta dodges the temptations of sentiment and preachiness.
    • 79 Metascore
    • 75 David Sterritt
    The movie's seven scenes were filmed in real time (as opposed to condensed editing-room time) over the course of a year, giving the drama an extra touch of realism and humanity.
    • 79 Metascore
    • 50 David Sterritt
    In its cinematic approach, though, the film is as slick as any Hollywood thriller, directed by Fernando Meirelles with visual flourishes - jazzy editing, lurid colors, crackling sound effects - that dilute the impact of what might have been an indelible cautionary tale.
    • 79 Metascore
    • 50 David Sterritt
    The subject is crucially important, but the movie dilutes its impact with by-the-numbers filmmaking, and Cheadle's one-note performance displays few of his acting gifts.
    • 79 Metascore
    • 100 David Sterritt
    This astoundingly beautiful Korean production is poignant, original, and engrossing.
    • 79 Metascore
    • 100 David Sterritt
    Expressively filmed story of rivalry, romance, and cultural conflict.
    • 79 Metascore
    • 63 David Sterritt
    A daring but flawed achievement, diluting its emotional power and satirical bite with a self-consciously jagged structure, and a calculating, sometimes chilly untertone. [1 Oct 1993]
    • Christian Science Monitor
    • 79 Metascore
    • 50 David Sterritt
    The meandering story and channel-surfing style prevent it from gathering the emotional momentum it would need to get below the hero's skin and let us know what really makes him tick.
    • 79 Metascore
    • 75 David Sterritt
    The movie's style is fairly staid, but it's hard to imagine how Neeson could be better, and the subject is handled with taste and tact.
    • 79 Metascore
    • 100 David Sterritt
    Indelible images and brilliant use of unconventional music make this a nonfiction film that must be seen – and heard – to be believed.
    • 79 Metascore
    • 75 David Sterritt
    The ending is especially inventive, managing to be sour, cynical, sentimental, and upbeat at the same time. [22 Dec 1989]
    • Christian Science Monitor
    • 79 Metascore
    • 100 David Sterritt
    Deeply personal, morally alert, and highly entertaining.
    • 79 Metascore
    • 100 David Sterritt
    A fact-filled study that's also a full-fledged work of cinema art. [2 Sept 1988]
    • Christian Science Monitor
    • 79 Metascore
    • 75 David Sterritt
    Milos Forman's drama is full of outrageous material that will offend liberals and conservatives alike, but it's positioned on the cutting edge of contemporary debates about free speech, feminism, and the effects of mass media on modern society.
    • 79 Metascore
    • 100 David Sterritt
    Tsai's cinematic style is unique: He unfolds his stories in long, static shots that let you discover their surprises and mysteries on your own. And that's great fun. What Time Is It There? is perky, entertaining, and one of a kind.
    • 79 Metascore
    • 75 David Sterritt
    While Jaoui's film is interesting to watch, it dawdles enough to lose its storytelling grip.
    • 79 Metascore
    • 100 David Sterritt
    This movie equivalent of Robert Rauschenberg's artwork "Erased de Kooning" is funny, ornery, and ultimately inspiring.
    • 79 Metascore
    • 75 David Sterritt
    There's no over-the-top music or comedy sequence to place this with the very best Disney animations, though, and Phil Collins's songs won't be to everyone's taste.
    • 79 Metascore
    • 100 David Sterritt
    This is the kind of movie that literate viewers pine for, laced with gracefulness and wit.
    • 79 Metascore
    • 100 David Sterritt
    A riveting new documentary about the Arab-run Al Jazeera network, reminds us that news programming can vary so widely from place to place that journalistic myths of "objectivity" and "impartiality" seem more naive than ever.
    • 79 Metascore
    • 50 David Sterritt
    There's not enough substance to support the sentiment of this longish comedy-drama.
    • 79 Metascore
    • 63 David Sterritt
    The movie soars highest when De Palma engages in the purely visual storytelling that he considers (rightly) his strongest suit as a director. [4 June 1987, p.29]
    • Christian Science Monitor
    • 79 Metascore
    • 75 David Sterritt
    An intense, claustrophobic drama of love and infidelity.
    • 79 Metascore
    • 75 David Sterritt
    Nolte gives one of his most fully realized performances, Coburn makes an amazingly powerful comeback, and Schrader's filmmaking has never been more expressive or assured.
    • 79 Metascore
    • 75 David Sterritt
    Its grimness is explicit, so approach it with caution.
    • 79 Metascore
    • 100 David Sterritt
    Junge's testimony is a salutary reminder that Hitler was like other people in ways, and that the evil he manifested could visit us again if more civilized humans don't remain watchful.
    • 79 Metascore
    • 75 David Sterritt
    Roddam's minor but imaginative 1979 movie.
    • 79 Metascore
    • 100 David Sterritt
    Magical movie, which has brilliant fun with the contrasts between film and theater, love and infatuation, reality and fantasy.
    • 78 Metascore
    • 75 David Sterritt
    The movie's cutest twist is that the monsters are more scared of kids than kids are of them, because they think human children are toxic.

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