David Edelstein
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For 1,682 reviews, this critic has graded:
  • 47% higher than the average critic
  • 2% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 3.6 points higher than other critics. (0-100 point scale)

David Edelstein's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Blackfish
Lowest review score: 0 Life Is Beautiful
Score distribution:
1,682 movie reviews
    • 83 Metascore
    • 80 David Edelstein
    For all its relative subtlety, Kill Bill, Vol. 2 remains a cartoon: Its wit is broadsword rather than rapier, and its motives are elemental. The banter is second-tier Tarantino: a cut above his imitators, but below the standard set by "Pulp Fiction" and "Jackie Brown."
    • 85 Metascore
    • 80 David Edelstein
    The Host packs a lot into its two tumultuous hours: lyrically disgusting special effects, hair-raising chases, outlandish political satire, and best of all, a dysfunctional-family psychodrama--an odyssey that's like a grisly reworking of "Little Miss Sunshine."
    • 70 Metascore
    • 80 David Edelstein
    Unexpectedly delectable.
    • 80 Metascore
    • 80 David Edelstein
    A passionate and rousing piece of filmmaking--a civics lesson with the punch of a good melodrama.
    • 91 Metascore
    • 80 David Edelstein
    The Gatekeepers doesn't play like agitprop. The storytelling is strong, the images stark. The camera roams among multiple monitors showing multiple satellite views while an ambient score works on your nerves.
    • 81 Metascore
    • 80 David Edelstein
    No part of us is allowed to relax. Ever.
    • 57 Metascore
    • 80 David Edelstein
    Somehow, Assisted Living jells. Maggie Riley is astoundingly convincing, and she and Bonsignore's Todd have an unforced chemistry that catches you off guard.
    • 65 Metascore
    • 80 David Edelstein
    A senseless blast.
    • 65 Metascore
    • 80 David Edelstein
    True Crime gives you sleaze on toast--a heap of tabloid bathos, a dusting of high-mindedness, a dash of gallows humor. It's a bizarre concoction, but it's riveting.
    • 54 Metascore
    • 80 David Edelstein
    Director Dennis Dugan knows his way around shin-whacking slapstick, and Sandler is mesmerizing.
    • 88 Metascore
    • 80 David Edelstein
    It's a prizewinning combination, terribly English and totally Hollywood, and Firth is, once more, uncanny: He evokes, in mid-stammer, existential dread.
    • 62 Metascore
    • 80 David Edelstein
    Gives off the same vapor of impending tragedy—of a fate neither just nor unjust but ineffably, wrenchingly right.
    • 79 Metascore
    • 80 David Edelstein
    The movie has so much texture that once it gets you, you're good and got.
    • 69 Metascore
    • 80 David Edelstein
    Even more than his other genre mash-ups, this is a switchback journey through Tarantino’s twisted inner landscape, where cinema and history, misogyny and feminism, sadism and romanticism collide and split and re-bond in bizarre new hybrids. The movie is an ungainly pastiche, yet on some wacked-out Jungian level it’s all of a piece.
    • 83 Metascore
    • 80 David Edelstein
    In dramatic terms, Osama couldn't be much simpler. The director is aiming for a sort of tone poem of repression, the girl robbed first of her childhood, then of her burgeoning womanhood.
    • 81 Metascore
    • 80 David Edelstein
    I hate to damage so fragile a work with overpraise, but, gay or straight, if you don't see yourself in this movie, you need to get a life.
    • 80 Metascore
    • 80 David Edelstein
    I found the first half-hour a snooze, but once I adjusted to the movie's rhythms, I was completely enraptured. Ferran weaves the love affair into nature, but not in the mystical, sanctified manner of Ang Lee's "Brokeback Mountain."
    • 72 Metascore
    • 80 David Edelstein
    In spite of its standard biopic gaps and simplifications, Walk the Line gets the big things right.
    • 64 Metascore
    • 80 David Edelstein
    Everything we love about biblical-movie kitsch is here, only concentrated and heightened.
    • 74 Metascore
    • 80 David Edelstein
    A minor-key ghost story with major jolts.
    • 83 Metascore
    • 80 David Edelstein
    It’s romantic, tragic, and inexorably strange.
    • 61 Metascore
    • 80 David Edelstein
    The film is, in fact, a cunning exercise in subjectivity and withheld information--and once you accept those parameters, it’s riveting.
    • 68 Metascore
    • 80 David Edelstein
    Breezy, brief, and often a howl.
    • 85 Metascore
    • 80 David Edelstein
    After warming up with "The Thin Red Line" and "The New World," Malick has succeeded in fully creating his own film syntax, his own temporal reality, and lo, it is … kind of goofy. But riveting.
    • 64 Metascore
    • 80 David Edelstein
    Living Out Loud becomes an ode to openness, to letting in everything that the world throws at you.
    • 70 Metascore
    • 80 David Edelstein
    Belongs to that most promiscuous of genres -- the go-for-it sports melodrama -- but transcends it and then some.
    • 69 Metascore
    • 80 David Edelstein
    In addition to being fast, funny, and unpretentious, Brave is a happy antidote to all the recent films in which women triumph by besting men at their own macho games.
    • 86 Metascore
    • 80 David Edelstein
    A marvel of cunning, an irresistible blend of cool realism and Hollywood hokum.
    • 66 Metascore
    • 80 David Edelstein
    With an actor as great as Gene Hackman in the lead, a lot of scenes even breathe.
    • 85 Metascore
    • 80 David Edelstein
    Knocked Up feels very NOW. The banter is bruisingly funny, the characters BRILLIANTLY childish, the portrait of our culture's narrowing gap between children and their elders hysterical--in all senses.

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