For 16 reviews, this critic has graded:
  • 25% higher than the average critic
  • 0% same as the average critic
  • 75% lower than the average critic
On average, this critic grades 12.8 points lower than other critics. (0-100 point scale)

David Baron's Scores

  • Movies
  • TV
Average review score: 51
Highest review score: 90 Grey Gardens
Lowest review score: 10 Army of Darkness
Score distribution:
  1. Positive: 3 out of 16
  2. Negative: 2 out of 16
16 movie reviews
    • 68 Metascore
    • 50 David Baron
    While Bopha's belatedly tragic story is an affecting one - and is made all the more poignant by strong performances by Woodard and Eziashi - it will not seem entirely fresh to movie-goers weaned on such superior cinematic treatments of the subject as Chris Menges' "A World Apart" and Euzhan Palcy's "A Dry White Season." [29 Oct 1993, p.L25]
    • New Orleans Times-Picayune
    • 69 Metascore
    • 50 David Baron
    "Down" is in many respects a quite modest achievement. While several of his characters are colorful enough to elicit laughs (the sweet but bland hero, I'm afraid, isn't one of them), Breathnach takes a perilously long time to generate narrative excitement and delivers only a pint-sized dramatic payoff. [3 July 1998, p.L27]
    • New Orleans Times-Picayune
    • 95 Metascore
    • 90 David Baron
    Disney's unrivaled ability to wed emotional depth to high-tech razzle-dazzle endows Toy Story with its authentic heart and soul. [24 Nov 1995, p.L28]
    • New Orleans Times-Picayune
    • 51 Metascore
    • 60 David Baron
    The real love story in Mighty Joe Young, however, is the one between lumbering, big-hearted Joe and his feisty blond protector, and that's a romance to which audiences of all ages will happily respond. [2 Jan 1999]
    • New Orleans Times-Picayune
    • 54 Metascore
    • 40 David Baron
    Dunston does all sorts of zany things in Ken Kwapis' wisely brief feature, but whether the movie is therefore worth seeing will depend on whether his monkeyshines are apt to make the viewer go ape. [12 Jan 1996, p.L24]
    • New Orleans Times-Picayune
    • 46 Metascore
    • 20 David Baron
    You'd never know, watching a loud, shrill, relentlessly stupid comedy called Airheads, that this 90-minute waste of celluloid is by Michael Lehmann, the ostensibly talented director of "Heathers," a wickedly sharp black comedy released in 1989. Unless, of course, you happen to recall that Lehmann is the same guy who more recently gave us the atrocious "Hudson Hawk." [5 Aug 1994, p.L26]
    • New Orleans Times-Picayune
    • 55 Metascore
    • 40 David Baron
    After a "Porky's"-style segment dealing with puppy lust, the film then segues to its better second half, hitting its stride when a ball signed by the revered Babe Ruth must somehow be retrieved from behind the fence.
    • 43 Metascore
    • 40 David Baron
    Those who like their swashbucklers to resemble, say, the farces of Jim Abrahams and the brothers Zucker, will be in good hands with David Loughery's obvious sight gags and anachronistically "hip" repartee. The only real wit in sight is supplied by Curry, who does what he can to give viewers some respite from the picture's relentlessly giddy brand of schmaltz. [12 Nov 1993, p.L25]
    • New Orleans Times-Picayune
    • 34 Metascore
    • 50 David Baron
    Viewed as anything but fodder for scares, The Crush is silly business. Its villainess is much less credible than Barrymore's, while its landscaping and decor manifest a lot more thought than its psychology. Nonetheless, the picture manages to sustain an effectively creepy atmosphere for most of its 80-odd minutes, making it tolerable for moviegoers content with nothing more. [8 Apr 1993, p.E10]
    • New Orleans Times-Picayune
    • 82 Metascore
    • 90 David Baron
    As one who first saw Grey Gardens two decades ago, I can happily confirm that its impact is lasting. [3 July 1998, p.L34]
    • New Orleans Times-Picayune
    • 78 Metascore
    • 50 David Baron
    While hardly the sensation its hype promises, the D.A. PennebakerChris Hegedus documentary The War Room offers some droll glimpses behind the scenes at the workings of the 1992 Clinton presidential campaign and its twin masterminds, Cajun firebrand James Carville and cucumber-cool George Stephanopoulos. [4 Feb 1994, p.L26]
    • New Orleans Times-Picayune
    • 80 Metascore
    • 50 David Baron
    Kiarostami is at his best in scenes when a stripped-down, ascetic lyricism resonates with the breadth and intensity of his philosophical concerns. But the film's teasing cop-out of an ending - along with the mounting frustration induced by Badii's veiled motives - ultimately make this prize-winning "Cherry" a faintly bitter-tasting fruit. [29 May 1998, p.L24]
    • New Orleans Times-Picayune
    • 80 Metascore
    • 40 David Baron
    But its behind-the-scenes satire of the peccadilloes of "serious" French filmmaking eventually turns downright pedantic, while the backstage intrigue (much of it hinging on a female staffer's romantic designs on Maggie) is surprisingly tame. [25 July 1997, p.L31]
    • New Orleans Times-Picayune
    • 62 Metascore
    • 60 David Baron
    Imperfect, and ultimately facile though it is, Hallstrom's newest cinematic love letter to his adopted country makes for better-than-average viewing in a summer that has been anything but kind to romantic comedy. [4 Aug 1995, p.L29]
    • New Orleans Times-Picayune
    • 59 Metascore
    • 10 David Baron
    A tedious mock-medieval adventure yarn that's easily the worst film so far this year...Without a single clever line of dialogue (by contrast, Arnold Schwarzenegger's one-liners rank with Oscar Wilde's) or a story of even marginal coherence, the movie relies entirely on visual overkill to bludgeon the viewer into a state of comatose submission. [19 Feb 1993, p.L23]
    • New Orleans Times-Picayune
    • 71 Metascore
    • 80 David Baron
    Though the Coens have a way, as ever, with a crime yarn (even a truly goofy one), it's their ability to create eccentrically affecting characters - and to devise unusual fantasy sequences that work as large-scale sight gags - that makes this movie such a quirky pleasure. [6 March 1998, p.L30]
    • New Orleans Times-Picayune

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