David Edelstein

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For 1,748 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: 64
Highest review score: 100 The End of the Tour
Lowest review score: 0 Freddy Got Fingered
Score distribution:
1748 movie reviews
    • 57 Metascore
    • 70 David Edelstein
    The movie, without seeming to realize it, turns into a romantic parable about the joys of being absorbed by a conglomerate.
    • 71 Metascore
    • 70 David Edelstein
    The movie is very beautiful, with a shambling pace and slow fade-ins and fade-outs; and when it works there's a tension between its characters' scuffling small-talk and its majestically ruined rural setting.
    • 78 Metascore
    • 70 David Edelstein
    Doesn’t have the warmth of the Toy Story pictures, but it still boasts a very entertaining slapstick-farce structure and some neat hairy, oozy, tendrilly creatures.
    • 60 Metascore
    • 70 David Edelstein
    It demands to be seen, for Drew Barrymore, who is at once the dizziest and most magically poised comedienne in movies today.
    • 70 Metascore
    • 70 David Edelstein
    Thirteen has a way of smashing through your defenses. Hardwicke has goosed up the old melodramatic formula with a neorealist syntax and up-to-the-minute cultural nuances and violence.
    • 74 Metascore
    • 70 David Edelstein
    Squirmily funny documentary.
    • 88 Metascore
    • 70 David Edelstein
    A glorious, visceral mess -- The film is, by most criteria, an ungainly piece of storytelling. Yet it sweeps you up and hurtles you along like water from an exploded dike.
    • 54 Metascore
    • 70 David Edelstein
    In some strange way, I admire the enterprise. Like his Gerrys, Van Sant doesn't seem to know where he's going to wind up when he embarks on these journeys. The ether that seeps into his head might be the price we have to pay for his keeping his mind so open.
    • 49 Metascore
    • 70 David Edelstein
    A fun ride. It's loud and obvious, but it's also the first high-tech, sci-fi thriller to think through some of the implications of cloning and capitalism.
    • 51 Metascore
    • 70 David Edelstein
    There's a great, Hitchcockian suspense sequence in a bathtub.
    • 64 Metascore
    • 70 David Edelstein
    Nearly perfect for what it is.
    • 59 Metascore
    • 70 David Edelstein
    Better than anyone dared hope: bigger, more inventive, and more frolicsome than its predecessor, with a grab bag of scatological gags that are almost as riotous when you think back on them.
    • 61 Metascore
    • 70 David Edelstein
    If you want rich folk-art colors, brainy spectacle, and breezy soap opera, then Frida is the biopic for you.
    • 70 Metascore
    • 70 David Edelstein
    It's so exciting to have a perfectly sung and acted Tosca (Avatar) on film that I'm prepared to forgive the new movie, directed by Benoit Jacquot, almost everything. But I sure wish Jacquot hadn't bungled the look and feel.
    • 68 Metascore
    • 70 David Edelstein
    It's on the verge of being really good...his narrative peters out without a decent payoff. It's a testament to the rage and anxieties that he has brilliantly tapped into that he can't get away with a subdued conflagration and a lame twist at the end.
    • 56 Metascore
    • 70 David Edelstein
    He thrilled me, then betrayed me in the end.
    • 64 Metascore
    • 70 David Edelstein
    You have to give credit to Frailty for jiggering up the formula a bit, so that what starts as an ominously low-key study of a boy coming of age with a mad father escalates into a combination of "The Texas Chainsaw Massacre" and "Breaking the Waves" -- Grand Guignol religiosity.
    • 74 Metascore
    • 70 David Edelstein
    The movie is mechanical, but machines can be elegant, even inspired.
    • 71 Metascore
    • 70 David Edelstein
    The movie is a passable entertainment -- call it The Half Monty.
    • 59 Metascore
    • 70 David Edelstein
    That neither tale is especially interesting doesn't matter -- the contrast alone is enough to make Sliding Doors an irresistible romantic fantasy.
    • 62 Metascore
    • 70 David Edelstein
    It's a testament to Norton's utter immersion in the role that he can even halfway connect the dots between this fundamentally sweet, brainy kid and the magnetic, white trash monster who'll haunt our minds long after the movie's liberal pieties fade into static.
    • 63 Metascore
    • 70 David Edelstein
    Bogdanovich has been so smooth and loving in his directorial attentions that he has forgotten to give the tragical farce proceedings any terrible momentum.
    • 57 Metascore
    • 70 David Edelstein
    This is ultimately a conversion melodrama, and a clumsy one. But until it goes to hell, it's thrillingly good, a fervid answer to the spate of cop movies that glorify brutality and sanction ends over means.
    • 61 Metascore
    • 70 David Edelstein
    Hoffman has wedged the play into a weirdly inapposite setting, has stupidly cut and even more stupidly embellished it, and has miscast it almost to a player. And yet the damn thing works: Shakespeare staggers through, mutilated but triumphant.
    • 76 Metascore
    • 70 David Edelstein
    Matt Damon can't quite piece together a compelling poseur.
    • 80 Metascore
    • 70 David Edelstein
    Whose idea was it to turn Minority Report into a mushy declaration of humanism? It ends up as less of a warning about an Orwellian police state than a protest that Pre-Cogs are people, too. It's Dick-less.
    • 47 Metascore
    • 70 David Edelstein
    It's bursting with goofy banter, Hollywood in-jokes, sexy love scenes, and chases that go on much too long but have the kind of madcap self-indulgence that makes questions of logic or credibility seem dull-witted. It's a great piece of mindful escapism.
    • 68 Metascore
    • 70 David Edelstein
    Becomes increasingly unwatchable -- not just bleak but punishing, as if the director wants to fry your circuits along with his characters'.
    • 57 Metascore
    • 70 David Edelstein
    The movie is repetitious, crudely dramatized, and awkwardly acted -- in English, which seems to be the second or third language of everyone involved -- Yet the movie, heavy-handed as it is, serves as a powerful rejoinder to “Blind Spot.”
    • 79 Metascore
    • 70 David Edelstein
    It's sensationally well-made: skittery and kinetic, packed with mayhem, yet framed (and narrated) with witty detachment, so that the carnage never seems garish. The film is far from a work of art, but it marks the emergence of a great new action superchef.
    • 33 Metascore
    • 70 David Edelstein
    She's (Jolie) the most amazing special effect in movies. The best thing in Lara Croft: Tomb Raider is a bungee-jumping ballet that Lara performs late at night in her mansion, soaring high and low in Japanese silk pajamas and with her hair pulled tightly back.
    • 76 Metascore
    • 70 David Edelstein
    It's Miyazaki's use of sound--and silence--that takes your breath away
    • 48 Metascore
    • 70 David Edelstein
    It's a measure of Brooks' stature that he survives the self-sabotage and comes through with his most engaging performance in years.
    • 75 Metascore
    • 70 David Edelstein
    A slender thing, with a perversely undernourished color scheme: grainy blue exteriors and old-time sepia interiors. The fullness comes from the faces of its two protagonists.
    • 64 Metascore
    • 70 David Edelstein
    Ultimately, it has less in common with "Blair Witch" than with such quivering lumps of sentiment as "Ghost" and Field of Dreams."
    • 73 Metascore
    • 70 David Edelstein
    This is a star-making performance, as fresh and funny as Christopher Reeve's in Superman (1978).
    • 83 Metascore
    • 70 David Edelstein
    I'm not turning cartwheels over Adaptation as energetically as my colleagues. Part of me -- and I'm thinking aloud here, I've likely been infected by Kaufman's comic self-consciousness, and also by his meta-comic impulse to draw attention to that self-consciousness, and probably also by his meta-meta-comic impulse to draw attention to drawing attention to his self-consciousness -- that -- that --
    • 83 Metascore
    • 70 David Edelstein
    The inner life of the young Spider is just screaming to be taken to the next level--but Cronenberg mulishly won't go there. What goes wrong with Spider is pretty basic: The audience has no idea why it was made.
    • 80 Metascore
    • 70 David Edelstein
    It's scary to have to puzzle out a plot line scene by scene -- scary and exhilarating, at least for an hour.
    • 72 Metascore
    • 70 David Edelstein
    The best thing about Seabiscuit is that it will make a lot of people hungry to read the book. They've seen the pretty pictures; now they'll want to enter the world.
    • 43 Metascore
    • 70 David Edelstein
    Anything Else feels driven. It's like a rant from a therapist's couch--angry, unmediated, free-associational, unleavened by sentiment or compassion. And it's something else that Allen hasn't been lately: funny.
    • 61 Metascore
    • 70 David Edelstein
    Adds up to a nice little gotcha! courtroom melodrama.
    • 70 Metascore
    • 70 David Edelstein
    Billy Bob Thornton's performance is--there's no other word--beautiful.
    • 66 Metascore
    • 70 David Edelstein
    I love Nicholson here because he lets Keaton take the movie--and his relative reticence is very attractive.
    • 62 Metascore
    • 70 David Edelstein
    The movie is a testament to compromise, and so are the Farrellys' other movies--between the freakish pain of living and the wonderfully dumb gross-out slapstick that said freakishness makes possible.
    • 73 Metascore
    • 70 David Edelstein
    Good, sometimes thrilling, but it's less a war epic than an evocative romantic melodrama with a patchy first hour.
    • 48 Metascore
    • 70 David Edelstein
    Wing and director Peter Segal and Sandler and Barrymore have built a comedy around the thrill of first attraction, the sadness that comes from knowing it can't last, and the challenge of finding something in the heart to hang onto.
    • 63 Metascore
    • 70 David Edelstein
    Uneven, ludicrous, but--oh man!--fun to watch.
    • 80 Metascore
    • 70 David Edelstein
    First-time director Richard Kwietniowski has fun with the collision of high and low culture, and he does elegant work.
    • 60 Metascore
    • 70 David Edelstein
    Sometimes I wonder how Mamet can get out of bed, he's so paranoid, let along crank out two-thirds (at least) of a thriller this crackerjack. I hope that next time he leaves out the (booby) prize.
    • 65 Metascore
    • 70 David Edelstein
    Haynes sets out to demonstrate the power of popular music to change people's lives--to tell them it's OK to fashion themselves into anything they please.
    • 71 Metascore
    • 70 David Edelstein
    Creepily entertaining.
    • 47 Metascore
    • 70 David Edelstein
    No one rises above the material, though, except for Walken, who looks pleased with the paycheck and the top-shelf tequila. As a shady lawyer, Mickey Rourke is smooth and funny, but recognizable only by his familiar purr.
    • 42 Metascore
    • 70 David Edelstein
    I had a fabulous time. Well, I did once I accepted that it was a campfest--a great Provincetown drag show of The Stepford Wives.
    • 64 Metascore
    • 70 David Edelstein
    Napoleon Dynamite is too low-wattage to be a true nerd anthem, but it's charming in retrospect.
    • 67 Metascore
    • 70 David Edelstein
    Bridges has evolved into a miraculous actor: one who signals wildness through the intensity of his containment.
    • 66 Metascore
    • 70 David Edelstein
    Pecker is a breezy, agreeable picture--a charmer, thumbs-up, three stars--but there's something disappointing about a John Waters film that's so evenhanded and all-embracing, even if its sunniness is "ironic."
    • 64 Metascore
    • 70 David Edelstein
    It's formulaic, but it sticks to a classic Western formula instead of a cartoonish blockbuster one.
    • 61 Metascore
    • 70 David Edelstein
    The film is smutty-mouthed and jumpy and free-associative, and Allen does everything but hurl his feces at the audience. The result is more rambunctious--and more fun--than any movie he has made in years.
    • 76 Metascore
    • 70 David Edelstein
    Beautifully made and unsurpassingly creepy, it's the rare remake with something contemporary to add.
    • 66 Metascore
    • 70 David Edelstein
    This is not a movie to see if you're contemplating tying the knot; it's a hard slog for those of us already entwined.
    • 58 Metascore
    • 70 David Edelstein
    Has spasms of silliness that thaw things out delightfully. Davis plays Vartan's girlfriend as an irrepressible, sexed-up brat, and gives every line a little hop, skip, and jump.
    • 59 Metascore
    • 70 David Edelstein
    A bit of a philosophical muddle, but the climactic tennis scenes are galvanically convincing, with some long, nerve-racking volleys. And the rest of the picture works as "Notting Hill" (1999) with balls--and rackets.
    • 76 Metascore
    • 70 David Edelstein
    The comic high point in Shaun of the Dead comes when Lucy Davis, from the great BBC sitcom "The Office," teaches the band of survivors how to lurch like zombies so that they can pass among the undead.
    • 60 Metascore
    • 70 David Edelstein
    But there are scenery chewers and there are Michelin-gourmet scenery chewers, and Pacino has a three-star feast.
    • 72 Metascore
    • 70 David Edelstein
    Lee views these mortal fools with a sorrowful detachment. He's a sort of clinical humanist, editorializing only by what he leaves out. The downside of this method is its impersonality, which limits our involvement. The upside is its lack of cheap sentiment, and its clarity.
    • 46 Metascore
    • 70 David Edelstein
    Saw
    Less a classical narrative than an ingenious machine for inducing terror, rage, and paralyzing unease.
    • 66 Metascore
    • 70 David Edelstein
    I like my SpongeBob a little less lumbering, a little more free-associational, without that big, heavy anchor of a story structure to weigh him down.
    • 74 Metascore
    • 70 David Edelstein
    The music ties together all the pretty pictures, gives the narrative some momentum, and helps to induce a kind of alert detachment, so that you're neither especially interested nor especially bored. Perhaps that's a state of Buddhist enlightenment.
    • 66 Metascore
    • 70 David Edelstein
    It manages to be funny and charming while capturing a lot of disturbing things about the way we live now.
    • 59 Metascore
    • 70 David Edelstein
    Has a nonsensical twist ending that almost wrecks it, but until then it has enough fast, hyperliterate venality to make it great fun.
    • 63 Metascore
    • 70 David Edelstein
    It's depressing that this first movie in years to dramatize the American Revolution has so little to do with the politics of secession and so much to do with pop-culture themes of vigilantism.
    • 54 Metascore
    • 70 David Edelstein
    Simply a jolly good (k)night out.
    • 67 Metascore
    • 70 David Edelstein
    The movie is diverting enough -- it's good fun -- but much of the genius is gone with the wind.
    • 78 Metascore
    • 70 David Edelstein
    Head-On doesn't sound like a lot of fun, but it keeps you on edge, laughing nervously, appalled and, against all odds, entertained.
    • 62 Metascore
    • 70 David Edelstein
    What a gutsy, sad, seize-the-day, glorious life it was for the women warriors of Lipstick & Dynamite.
    • 78 Metascore
    • 70 David Edelstein
    At times, the picture evokes such stylized musicals as "The Band Wagon"; at others, it seems to whirr every kung-fu movie ever made into the most luscious action smoothie you'll ever imbibe.
    • 59 Metascore
    • 70 David Edelstein
    I can't think of too many actors who could bring off Jim Winters. LaPaglia manages to convey, wordlessly, the man's inner struggle.
    • 63 Metascore
    • 70 David Edelstein
    An extremely pleasant, consistently amusing diversion that is never as uproarious as you might hope. But don't panic, as the Guide would say. In a pinch, it will do.
    • 71 Metascore
    • 70 David Edelstein
    All along we've known that the contest was a metaphor for getting your act together BEFORE taking it on the road.
    • 55 Metascore
    • 70 David Edelstein
    It's a good, thoughtful horror picture--and thiiis close to being a very good one.
    • 65 Metascore
    • 70 David Edelstein
    What makes Alice Wu's debut so pleasurable is its easy rhythms, its sly juxtapositions, and its relaxed but funny performances.
    • 69 Metascore
    • 70 David Edelstein
    Howard manipulates audiences without guile, jerking tears, piling on catastrophes, smoothing out dissonances, making bad characters badder and good ones gooder--and clearly believing that this is wholesome. At what he does, he's peerless. I wish I had more respect for what he does--and for myself the next morning for surrendering.
    • 55 Metascore
    • 70 David Edelstein
    There's a car chase that's more fluid and inventive than the much-touted freeway sequence in "The Matrix Reloaded," and the stars are nimble enough to make their acrobatics credible--no matter how many stunt doubles the picture employed.
    • 70 Metascore
    • 70 David Edelstein
    The movie is satisfying, though -- at least by the standards of that depressing phenomenon, the superhero "franchise."
    • 63 Metascore
    • 70 David Edelstein
    Overlong at nearly two hours but still a sharp and amusing and subtle piece of filmmaking.
    • 53 Metascore
    • 70 David Edelstein
    Has a routine finish but up to that point is a more than decent thriller--or, given its taut self-containment, a more than decent Hitchcockian "exercise in suspense."
    • 81 Metascore
    • 70 David Edelstein
    Over-the-top and shockingly vicious. But what strikes some critics as complexity feels to me like shame--the shame of Cronenberg, an uncompromising director whose bloodshed has always been genuinely horrifying.
    • 65 Metascore
    • 70 David Edelstein
    The most effective counterweight to Polanski's fatalism is young Barney Clark, whose Oliver--although given to few words--is unshakably alive and responsive, even as he's being buffeted violently by forces beyond his control.
    • 74 Metascore
    • 70 David Edelstein
    I mean Serenity no disrespect when I say it's enjoyably junky.
    • 58 Metascore
    • 70 David Edelstein
    An honest tear-jerker.
    • 82 Metascore
    • 70 David Edelstein
    The hole in the film isn't a reflection on Linney's performance. It's as if Baumbach, his hands full of oily whale blubber, didn't want to deal with an exploding sac of squid ink. And who can blame him, really?
    • 72 Metascore
    • 70 David Edelstein
    The comic surface of Kiss Kiss Bang Bang is all polished brilliance, with surprisingly few dull patches...The movie doesn't deliver in the kiss-kiss department, though.
    • 47 Metascore
    • 70 David Edelstein
    Good as it is, The Legend of Zorro would be a hollow feat without leads who are drop-dead-gorgeous movie stars and spectacular clowns.
    • 61 Metascore
    • 70 David Edelstein
    A fine movie, beautifully acted, but it isn't easy to love--or to watch. It's a parade of miseries, made even more miserable by Gore Verbinski's direction.
    • 71 Metascore
    • 70 David Edelstein
    What makes this an important film is the way it puts you in that landscape and in those shoes, so that you almost understand how ordinary human beings can be impelled to do inhuman things.
    • 76 Metascore
    • 70 David Edelstein
    A grim, twisty international conspiracy picture that challenges the audience on every level, political and aesthetic. The aesthetic part is a bit of an obstacle, though. I can't remember a time I had as much trouble--at a movie I admired--just figuring out what the hell was going on.
    • 66 Metascore
    • 70 David Edelstein
    Farce born of sadly irreconcilable impulses: Bravo!
    • 56 Metascore
    • 70 David Edelstein
    The performances are delightful, and the picture comes together.
    • 53 Metascore
    • 70 David Edelstein
    While it's true that you can't pack as much psychological detail into a movie as you can into a novel, director Philip Saville and screenwriter Adrian Hodges bring out the yeasty subtext of even the most brittle encounters.
    • 42 Metascore
    • 70 David Edelstein
    Much of it is risible, yet I loved watching it -not because I thought that the emperor was wearing new clothes but because I thought he looked fine - beautiful, actually - naked. Figgis' camera is probing and alive, so that even when his meanings are laughable, his images remain allusive and mysterious.
    • 62 Metascore
    • 60 David Edelstein
    A frightening, infuriating, yet profoundly compassionate documentary about the indoctrination of children by the Evangelical right.
    • 64 Metascore
    • 60 David Edelstein
    It gets the job done and then some, but it's ugly and clumsily shaped, and every scene is there to rack up sociological points.
    • 54 Metascore
    • 60 David Edelstein
    Despite the clunkiness, Estevez's commitment to his father's generation’s idealism (and its murder) commands respect.
    • 57 Metascore
    • 60 David Edelstein
    Miss Potter hardly deserves ridicule. It's sweet with lovely Lake District vistas and a heartfelt endorsement of land conservation. It will certainly play well with older audiences and the kind of adolescent girls who draw faces in their O's.
    • 65 Metascore
    • 60 David Edelstein
    The decomposition of the soul is the goal of a Stasi incarceration, the promised end for an enemy of the state, and there is something about the movie’s pacing--the silences, the drone of the narration ("The name of your enemy is hope?…?")--that wears you down.
    • 55 Metascore
    • 60 David Edelstein
    This is familiar terrain jazzed up by unfamiliar voices--principally Terrence Howard and his high-pitched, singsong drawl. You don't quite know what he's thinking; he might even be demented. But he keeps you watching and guessing.
    • 75 Metascore
    • 60 David Edelstein
    I think of Waitress as an overstuffed, overcooked pie--too ungainly to eat all of, too generous to pass up, too heartbreaking to contemplate for long.
    • 65 Metascore
    • 60 David Edelstein
    Scene by scene, Jindabyne has dramatic force, but it's an awfully long slog. Carver's smartest tactic was never outstaying his welcome.
    • 59 Metascore
    • 60 David Edelstein
    The movie isn't a dud: It has exuberant bits and breathtaking (money money money) effects. But it's supposed to be fun and inspirational, and it's too leaden for liftoff.
    • 63 Metascore
    • 60 David Edelstein
    Zoo
    Devor doesn't endorse horse-on-man sex, but he does attempt--with sympathy--to account for the appeal.
    • 52 Metascore
    • 60 David Edelstein
    It's a rich idea -- a Hartley-esque variation on the theme of American Innocents Abroad. And it works superbly until -- well, Grim's the word.
    • 53 Metascore
    • 60 David Edelstein
    Baldwin is so good in the coming-of-age gangster drama Brooklyn Rules that it's like watching a voodoo priest.
    • 66 Metascore
    • 60 David Edelstein
    She lip-syncs convincingly to Piaf's songs. Even when she overacts like mad, she makes you think she’s Piaf overacting like mad--the little sparrow with the foghorn pipes.
    • 65 Metascore
    • 60 David Edelstein
    The prolific Patrice Leconte takes a break from mythic, life-and-death scenarios with My Best Friend, a sitcom that threatens to take a rockier emotional path before swerving back into the comfy zone. It’s better when it’s threatening, but Leconte knows his audience.
    • 67 Metascore
    • 60 David Edelstein
    The movie should be seen with a large, responsive audience--the better to live with it in the moment instead of worrying about where it’s going.
    • 66 Metascore
    • 60 David Edelstein
    It’s puffed up in obvious ways but disarmingly puckish in others. As that capering pirate, De Niro is god-awful--yet his gung-ho spirit wins him Brownie points.
    • 53 Metascore
    • 60 David Edelstein
    Danny Huston is screamingly funny as the alternately finicky and savage Head Ghoul--he’s like something spewed forth from the bowels of the Politburo. The problem is structural.
    • 55 Metascore
    • 60 David Edelstein
    The jumping around is as deft as a hippo in a tutu, and the director, Gavin Hood, never finds a rhythm.
    • 79 Metascore
    • 60 David Edelstein
    At least the movie never bogs down. But you only get a taste of what made the Clash for a brief period the most exciting band on that side of the Atlantic.
    • 57 Metascore
    • 60 David Edelstein
    Most of the movie works because the blonde Weixler has a darling-daffy face (a pinch of Alicia Silverstone, a dollop of Drew Barrymore) and a should-I-or-shouldn’t-I ambivalence about sex that’s part realism, part screwball.
    • 66 Metascore
    • 60 David Edelstein
    Margot at the Wedding doesn’t develop; it just skips from one squirmy scene to the next.
    • 81 Metascore
    • 60 David Edelstein
    It’s the writer, Diablo Cody, and the director, Jason Reitman, who have screws loose. Or maybe they’re just desperate to make their film a chick "Rushmore" or "Garden State."
    • 63 Metascore
    • 60 David Edelstein
    City of Men is clunky and often contrived, but there’s something haunting about fatherless boys in a blighted place fumbling to teach themselves what it means to be a man.
    • 67 Metascore
    • 60 David Edelstein
    But even with bits that are crazily inspired, Forgetting Sarah Marshall is depressing. The Apatow Factory is too comfy with its workers’ arrested development to move the boundary posts. If they could find scripts by female writers that dramatize the other side of the Great Sexual Divide, it might be a place of joy--and embarrassed recognition--for everyone.
    • 70 Metascore
    • 60 David Edelstein
    I’m not sure Morris clinches his case, but I’m not sure he wants to: His aim is to throw a monkey wrench into the cogs of our perception.
    • 78 Metascore
    • 60 David Edelstein
    The best scene is when Hellboy and Abe get drunk and sing out raucously, which after "Hancock" suggests a trend toward superhero alcoholism.
    • 57 Metascore
    • 60 David Edelstein
    It would be barely passable under normal circumstances, but in 3-D it's a circus of excellent FX.
    • 66 Metascore
    • 60 David Edelstein
    The movie does get under your skin (the tremulous misfit girl, Hannah, might be a breakout role model), but the way it has been put together reminds me of those animal shows where the crew nudges the gazelles in the direction of the lions with multiple cameras standing by.
    • 62 Metascore
    • 60 David Edelstein
    Too bad the movies collapses at the end when we find out what's really going on. Baghead is so much more vivid when it's indefinite.
    • 57 Metascore
    • 60 David Edelstein
    The film has one indelible asset: Mark Strong, who plays the Jordanian spymaster Hani. He's sleek and lounge-lizard sharp like a young Andy Garcia, and he could be bigger than Garcia. The Jordanian holds all the cards, and opposite two superstars, Strong is the only actor who holds the camera.
    • 57 Metascore
    • 60 David Edelstein
    The film is superbly acted (especially by Macdissi, who makes the father a borderline hysteric), but it's hard to know what to feel except, "How can any girl navigate this oversexualized culture?"
    • 70 Metascore
    • 60 David Edelstein
    Attains a level of quiet grace. It's too bad that I can barely remember the movie after only a week. Nothing lasts, indeed.
    • 81 Metascore
    • 60 David Edelstein
    The movie isn't as world-shattering as those bouts: It's a regretful-old-warrior weeper.
    • 80 Metascore
    • 60 David Edelstein
    Selick has a great fantasy filmmaker's artistry, but he lacks that overflowing Geppetto-esque love that brings puppets to life. In Coraline, he's woozy with his own lyricism.
    • 64 Metascore
    • 60 David Edelstein
    It's tricky, it's surprising, and it's largely faithful to the original mini-series, but in context it's a nonevent. It's like a time bomb that's never dismantled but never explodes. The movie is good enough that the ending leaves you … not angry, exactly. Unfulfilled.
    • 69 Metascore
    • 60 David Edelstein
    Duplicity is deeply shallow--cheap reversals all the way down. But it's a passably amusing brainteaser.
    • 57 Metascore
    • 60 David Edelstein
    By now we’ve seen so many good, bad, and indifferent Sherlocks that it’s almost a relief to get something different, however wrongheaded. And there’s no such thing as too much Downey.
    • 28 Metascore
    • 60 David Edelstein
    The best part is Jemaine Clement as Benjamin’s grandiose genre hero, Dr. Ronald Chevalier. Even if you love him on "Flight of the Conchords," you’ll be unprepared for his genius--and charisma.
    • 75 Metascore
    • 60 David Edelstein
    Here's what's depressing: that, given the millions spent on defense by multinational conglomerates, our last best hope isn't the courts but the fickle attentions of glossy magazines and the noblesse oblige of celebrities.
    • 45 Metascore
    • 60 David Edelstein
    Extraordinary Measures has a soppy piano-and-strings score, but the primal fear of loss sharpens every scene.
    • 64 Metascore
    • 60 David Edelstein
    It’s campier than its predecessor, but its gung ho union of black, white, and Asian gangs against reactionaries who’d destroy them is a virtuosic assertion of punky Parisian multiculturalism.
    • 56 Metascore
    • 60 David Edelstein
    Movies are the lesser medium for Fey and Carell. They’re the stars of two relatively sophisticated, media-savvy network sitcoms, yet their big-screen comedies are retro.
    • 63 Metascore
    • 60 David Edelstein
    Better approached as an “oooooh” and “awww” fest.
    • 51 Metascore
    • 60 David Edelstein
    Holy Rollers fuses a somber, old-world palette with a jittery urban unease--a good mix of tones. It’s also wonderfully acted.
    • 95 Metascore
    • 60 David Edelstein
    It's an entertainingly cynical small movie. Aaron Sorkin's dialogue tumbles out so fast it's as if the characters want their brains to keep pace with their processors; they talk like they keyboard, like Fincher directs, with no time for niceties.
    • 50 Metascore
    • 60 David Edelstein
    Ken Hixon's script contrives a lot of mutual-healing set pieces and then sadly but shrewdly aborts them: That makes the drama more Chekhovian than "quite real."
    • 66 Metascore
    • 60 David Edelstein
    As in his pithy, tuneful songs-many written from different perspectives, in different styles-Merritt is committed to stylizing his misery instead of boring you with it.
    • 55 Metascore
    • 60 David Edelstein
    The screenwriter, James Solomon, does the poor job only a liberal could at making the case for a Cheneyesque "dark side," and he isn't helped by Kline's wooden acting. Too bad. The Conspirator is eloquent enough to let the other side have its say.
    • 85 Metascore
    • 60 David Edelstein
    For all its indirection, Meek's Cutoff is an utterly conventional film. But it's worth asking whether Reichardt's drowsy rhythms, stripped-down scenario, and female vantage add up to something illuminating. And here's where she earns at least some of those plaudits she's been getting.
    • 49 Metascore
    • 60 David Edelstein
    When the film shifts to Shanghai and the club Casablanca, there's too much lustrous-hued loitering and too few martial­-arts set pieces.
    • 72 Metascore
    • 60 David Edelstein
    It would be easy to dismiss as 100 percent ersatz if it didn't rekindle at least some of the old excitement - and if the magic of Spielberg's older movies didn't filter through, like light from a distant galaxy.
    • 39 Metascore
    • 60 David Edelstein
    Apart from having no particular reason to exist onscreen, especially at these prices, it's not half bad.
    • 67 Metascore
    • 60 David Edelstein
    This could be the premise of a zany comedy, but the mood of The Future is, from the outset, defeatist - annoyingly defeatist, to be frank.
    • 62 Metascore
    • 60 David Edelstein
    It's a tough, beautifully judged performance (Davis) - it gives this too-soft movie a spine.
    • 38 Metascore
    • 60 David Edelstein
    Yes, I cringed at the casting, too, especially when, watching the trailer, I heard Parker deliver the narration in the same voice she used for Carrie in "Sex and the City." But Kate is funnier - less arch - than Carrie, and Parker reminds you what a dizzy, all-in, high-risk comic actress she can be when she's not too busy showing off the couture.
    • 45 Metascore
    • 60 David Edelstein
    In any case, the last twenty minutes of Breaking Dawn are so harrowing that it's possible to forget that most of the acting is soap-operatic (the guy who plays Carlisle is aging to look like Liberace) and the dialogue from hunger. The movie's that primal.
    • 39 Metascore
    • 60 David Edelstein
    The Sitter feels slapdash and quick, but you might not want to have it any other way.
    • 44 Metascore
    • 60 David Edelstein
    A Joyful Noise overcomes. The big numbers are a gospel-pop-funk fusion that made me think, Hmmm, this seems very processed - before I noticed my feet were tapping of their own accord. How can you resist that wah-wah funk guitar?
    • 51 Metascore
    • 60 David Edelstein
    There's no wonder or elation or even dopy sincerity here - just a high level of proficiency and, yes, a lot of expensive CGI.
    • 56 Metascore
    • 60 David Edelstein
    The combination of childlike glee and grown-up precision is a wonder. The movie actually earns the right to exist, which is no mean feat.
    • 48 Metascore
    • 60 David Edelstein
    The pretty good thriller Lockout peaks with its first shot...When the camera moves and the plot kicks in - as it must - the movie loses its witty economy. Things get cluttered.
    • 45 Metascore
    • 60 David Edelstein
    The movie goes soft. But it has the unpretentious energy and charm of a good YA girls' novel.
    • 41 Metascore
    • 60 David Edelstein
    One of the more enjoyably terrible movies of the year.
    • 59 Metascore
    • 60 David Edelstein
    The whole movie is a good try.
    • 53 Metascore
    • 60 David Edelstein
    Bachelorette has some big gaps, and it isn't what you'd call fun - it's not "Bridesmaids 2." But lovely women doing genuinely ugly things makes for a potent combination.
    • 58 Metascore
    • 60 David Edelstein
    As cheap as the whole set-up is, the actors make wonderful music together - even if there's not much left of Eastwood's vocal cords except a handful of dust.
    • 63 Metascore
    • 60 David Edelstein
    The tasteless bombardment that is Les Misérables would, under most circumstances, send audiences screaming from the theater, but the film is going to be a monster hit and award winner, and not entirely unjustly.
    • 51 Metascore
    • 60 David Edelstein
    It’s fast, rousing, and blessedly brief.
    • 80 Metascore
    • 60 David Edelstein
    As amusing as the movie is, I think in the end that Ascher misses the labyrinth for the trees.
    • 82 Metascore
    • 60 David Edelstein
    Frances Ha is an irritant when it lingers. When Baumbach’s touch is more glancing — when he cuts before the humiliation — it sings.
    • 49 Metascore
    • 60 David Edelstein
    Watching Spike Lee’s decent but unmemorable remake of Park Chan-wook’s 2003 revenge picture "Oldboy," I kept trying to figure out why he’d done it.
    • 85 Metascore
    • 60 David Edelstein
    It’s absorbing for a long while, at least half its two-hour running time — an evocatively photographed soap opera with actors who are impossibly gorgeous and yet human-looking — but it goes on and on, piling on twists, adding devices so clunky they’d have embarrassed most nineteenth-century problem-dramatists, refusing to jell despite the actors’ prodigious suffering.
    • 57 Metascore
    • 60 David Edelstein
    The movie itself isn’t dull. It’s moderately stylish, moderately suspenseful, fun in patches. It hits its marks. But the setup lacks urgency.
    • 56 Metascore
    • 60 David Edelstein
    The key to a good B-mystery is that all the actors should be a little stilted. You should never know the difference between an actor acting badly and an actor doing a masterful acting job of someone acting badly. In Non-Stop, there is much excellent bad acting.
    • 48 Metascore
    • 60 David Edelstein
    If you can forget what it’s saying, Divergent is fairly entertaining.
    • 68 Metascore
    • 60 David Edelstein
    It’s Aronofsky’s least personal work. So you get a fat dose of conventional melodrama with your Old Testament: It’s the antediluvian "Gladiator."
    • 71 Metascore
    • 60 David Edelstein
    At its best, 22 Jump Street is less an action comedy than a loosely plotted revue, and though it’s not as witty as either Joe Dante’s "Gremlins 2: The New Batch" or Edgar Wright’s "Hot Fuzz" (in which the directors evinced genuine love for their chosen genres), it’s sure as hell better than a straight buddy-cop sequel.
    • 46 Metascore
    • 60 David Edelstein
    The film is too wan and distanced to sweep you up, but it holds you.
    • 65 Metascore
    • 60 David Edelstein
    Sutton finds the lyrical tension in torpor; he shows how Willis’s artistic vacuum isn’t a passive thing, how it eats into him, how it even permeates the natural world.
    • 88 Metascore
    • 60 David Edelstein
    Birdman is the very definition of a tour de force, and Iñárritu’s overheated technique meshes perfectly with the (enjoyable) overacting—the performers know this is a theatrical exercise and obviously relish the chance to Do It Big. But what comes out of the characters’ mouths is not so fresh.
    • 72 Metascore
    • 60 David Edelstein
    If The Theory of Everything cut as deeply as Redmayne's performance, it might be on the level of "My Left Foot." But there are so damn many problems, easy to ignore at first in the elation of watching Redmayne and the gossamer Felicity Jones as his future wife, Jane, but impossible to shake off in the last third.
    • 72 Metascore
    • 60 David Edelstein
    It’s a cracker­jack piece of filmmaking, a declaration that he’s (Eastwood) not yet ready to be classified as an Old Master, that he can out-Bigelow Kathryn Bigelow. Morally, though, he has regressed from the heights of Letters From Iwo Jima (2006). In more ways than one, the Iraq occupation is seen through the sight of a high-powered rifle. The movie is scandalously blinkered.
    • 59 Metascore
    • 60 David Edelstein
    Jolie gets the dirty/ennobling job done. If the narrative is finally unsatisfying, it’s because the last vital chapter — the way in which Zamperini was able to have a life after years of unspeakable cruelty and the dashing of his Olympic hopes — is signaled in a couple of title cards before the closing credits. Unbroken proves that Zamperini could take it and make it — but make what of it?
    • 79 Metascore
    • 60 David Edelstein
    I like — as always — what Chandor attempts: not just to denounce capitalism but to explain in detail how people go wrong. But the overcomposed, sedate A Most Violent Year lacks the one thing it most needs: violence.
    • 66 Metascore
    • 60 David Edelstein
    Though a mess by all conventional narrative standards, Avengers: Age of Ultron is a fascinating case study in the rules of “universe” storytelling. Chief among them is that a film may not be self-contained — it must constantly allude to worlds outside its own. Marvel fans want extra characters, extra subplots, in-jokes that pander to their supposed breadth of knowledge. They don’t want closure.
    • 52 Metascore
    • 60 David Edelstein
    It’s not a great movie, but it’s haunting, a sort of one-stop shop for a range of cultural anxieties — plague, environmental catastrophe, big government threatening the sanctity of home and family.
    • 75 Metascore
    • 60 David Edelstein
    Spy
    Feig keeps throwing so much stuff at you — gross-out gags, chases, brutal violence, not to mention actors working their heads off — that he finally wears down your resistance. In the end, I admired him for keeping this ramshackle construction together, casting performers I adore, and proving that Melissa McCarthy can, indeed, hold a gun. A mixed victory. A definitively mixed review.
    • 30 Metascore
    • 60 David Edelstein
    I like the movie, though. It forced me to rethink the way sexual desire saturates everything, along with extreme vulnerability of children.
    • 53 Metascore
    • 60 David Edelstein
    Woody Allen’s philosophical thriller Irrational Man is irrationally entertaining. It shouldn’t work. It’s laughably plotted and sketchily written. Intellectually, it’s jejune — or at least high in jejunosity. But if you can manage to keep your eye-rolling in check, you might find yourself getting into it.
    • 64 Metascore
    • 60 David Edelstein
    Ant-Man isn’t much more than pleasant (Peyton Reed directs limply), but anything Marvel that doesn’t feel Marvel-ish makes me smile.
    • 75 Metascore
    • 60 David Edelstein
    Mistress America is hit-and-miss. It’s not as burdened by blame as other Baumbach films — Gerwig leavens him. But it’s labored.
    • 75 Metascore
    • 60 David Edelstein
    Moverman is attempting something hugely ambitious with Time Out of Mind: a socially conscious, existential-displacement art movie. I think it would have worked better with a little less rigor and a little more intimacy.
    • 56 Metascore
    • 60 David Edelstein
    Joy
    I don’t think Russell has ever directed a scene as phony as the one in Joy’s office where she shows her abiding beneficence to a sweet young African-American couple. Equilibrium makes Russell a dull boy.
    • 76 Metascore
    • 60 David Edelstein
    I think The Revenant is, on the whole, pain without gain, but it’s certainly a tour ​de force — literally, a feat of strength.
    • 87 Metascore
    • 60 David Edelstein
    Once the surprise of seeing something so miserable depicted with such wit and poetry wears off, you’re left with a nagging ugh, as well as the feeling that this emotional/psychological syndrome isn’t nearly as universal as Kaufman thinks it is.
    • 48 Metascore
    • 60 David Edelstein
    The battle scenes are loud and jangly and dissonant enough to unnerve you — they work. But I’d like to see a congressional committee grill Bay and screenwriter Chuck Hogan about what’s going on half the time.
    • 43 Metascore
    • 60 David Edelstein
    The more subversive Instinct gets in proclaiming free will an illusion fostered by a rigidly repressive society, the more captive it seems to a rigidly repressive studio marketing department.
    • 62 Metascore
    • 60 David Edelstein
    The first truly countercultural apocalypse fantasy.
    • 60 Metascore
    • 60 David Edelstein
    A slick, not-too-thoughtful love story.
    • 72 Metascore
    • 60 David Edelstein
    Apart from a few choice flashbacks, the action is crawlingly linear--and opaque.
    • 71 Metascore
    • 60 David Edelstein
    An appropriately generic title for a droning, high-toned little heist picture with no dash and no raison d'être.
    • 74 Metascore
    • 60 David Edelstein
    There's too much miserable reality and not a lot of transcendent dance, and the director, Stephen Daldry, doesn't cover the action from enough angles.
    • 60 Metascore
    • 60 David Edelstein
    Levinson must think he's on safe ground morally by keeping Bandits bloodless, as if the absence of carnage somehow makes kidnapping and armed robbery wholesome.
    • 65 Metascore
    • 60 David Edelstein
    Occasionally dissonant, but it's remarkably cleareyed.
    • 41 Metascore
    • 60 David Edelstein
    Garry Shandling is poignant and hilarious as an alien stud.
    • 73 Metascore
    • 60 David Edelstein
    Hanks and Zemeckis (and writer William Broyles Jr.) are so intent on making an epic of the spirit that they can't bring themselves to acknowledge the comic, narcissistic side of their desert island fantasy. And so on simple, human terms, the picture gets all gummed up.
    • 54 Metascore
    • 60 David Edelstein
    With its featherweight premise, casually amoral heroes, and exotic locales, it conjures up an era (the '60s and '70s) when twisty, romantic heist pictures were routinely ground out as tax shelters.
    • 69 Metascore
    • 60 David Edelstein
    The movie says that the rebellious spirit that generates art can also consume and destroy -- that there's no undangerous way to ride the tiger.
    • 79 Metascore
    • 60 David Edelstein
    The movie is a collision between inspiration and tastelessness, between the defiantly quirky and the wholesomely homogenized. I hated it in principle--I hate most modern Disney cartoons--but adored a good deal of it in practice.
    • 77 Metascore
    • 60 David Edelstein
    I don't know what Pollock is supposed to be about, but as it stands—by default—it's the most blood-freezing Jewish-mother nightmare ever filmed. Pollock would give Woody Allen the willies.
    • 72 Metascore
    • 60 David Edelstein
    Something appalling about the way he turns to the camera with a look of sorrow: Michael Moore as a suffering Christ. It's an insult to his own movie, which at its considerable best transcends his thuggish personality.
    • 48 Metascore
    • 60 David Edelstein
    A too-pat but very funny comedy.
    • 55 Metascore
    • 60 David Edelstein
    I wish it were as much fun as its prospectus. The truth is that The Truth About Charlie gets increasingly tiresome.
    • 65 Metascore
    • 60 David Edelstein
    A ferocious yet lyrical piece of filmmaking--an enchanted bloodbath.
    • 47 Metascore
    • 60 David Edelstein
    Even if you find the satire in Josie and the Pussycats self-serving, you might still love the movie, buy the soundtrack, and surrender to the hype. That's what happened to me.
    • 63 Metascore
    • 60 David Edelstein
    If Boiler Room isn't an especially challenging movie, it's still a damn good melodrama -- a boilermaker.
    • 44 Metascore
    • 60 David Edelstein
    I also thrilled to identify with a male lead (Jon Favreau) who's as brilliant and crazy and self-absorbed as Woody Allen or Albert Brooks but whose self-absorption doesn't shape and color everything else in the movie.
    • 79 Metascore
    • 60 David Edelstein
    This seesaw of shame and self-justification might not speak for the most murderous segment of the German populace, but it's a peculiarly eloquent representation of the silent, obedient majority.
    • 71 Metascore
    • 60 David Edelstein
    The movie gets funnier and less obvious as it goes along, and Zooey Deschanel is a hoot as a disdainfully bored co-worker who ritually insults the zombie chain-store shoppers -- but what is The Good Girl saying, exactly?
    • 85 Metascore
    • 60 David Edelstein
    Payne's movie is flat, depressed, and at times -- given this director's talent -- disappointingly curdled; it needs every quivering molecule of Nicholson's repressed rage to keep it alive and humming.
    • 47 Metascore
    • 60 David Edelstein
    Con-artist caper comedies are almost always piffle, but there's a fierce, cruel competition at the heart of Heartbreakers that gives it some bite.
    • 52 Metascore
    • 60 David Edelstein
    A wee, breezy thing with painterly cinematography (by Jean Yves Escoffier) and with actors who are mostly fun to watch. It sails by in 103 minutes and the clunky stuff isn't painful, which makes a change from LaBute's usual grueling studies in human callousness and depravity.
    • 69 Metascore
    • 60 David Edelstein
    A feminist sitcom tricked up with garish violence and garrulous hit men.
    • 59 Metascore
    • 60 David Edelstein
    I half-admire its exquisite balancing act, squeezing laughs out of its leading lady's wardrobe, vocabulary, gestures, and cretinously oblivious Beverly Hills sense of entitlement, while simultaneously demonstrating her brilliance, sturdy ethics, and unflappable egalitarianism.
    • 57 Metascore
    • 60 David Edelstein
    The movie is meant to get into you like a virus, and it does.
    • 79 Metascore
    • 60 David Edelstein
    It's almost criminal the way the central relationship of High Fidelity has been left such a void.
    • 55 Metascore
    • 60 David Edelstein
    Rambling and conflicted as it is, it's one of the most entertaining African-American comedies of manners ever made.
    • 67 Metascore
    • 60 David Edelstein
    Spike Lee is a virtuoso filmmaker, a wizard at selling a sequence, but he'll never make an entirely coherent movie until he learns to go deeper into his subjects instead of wider with them.
    • 58 Metascore
    • 60 David Edelstein
    Fearless as these racers are, it's hard to muster enthusiasm for a movie that plays chicken and then swerves about a mile before the collision.
    • 65 Metascore
    • 60 David Edelstein
    Panic Room is fluidly made, and it keeps the audience quiet and unpleasantly gripped. But the only surprise is the absence of surprise; that trap is in too-plain view.
    • 72 Metascore
    • 60 David Edelstein
    There's something too refined and emotionally neutral about Nowhere in Africa, as if Link had directed with white gloves. Maybe she knew how loaded this African-Jewish subject was and didn't want it push it too hard. Maybe that's why she won an Oscar.
    • 31 Metascore
    • 60 David Edelstein
    As I've implied, this is a great midnight movie: I enjoyed every patchily edited, ham-fisted scene. But I don't like seeing the wonderful Kate Winslet look stupid, or the wonderful Laura Linney abase herself.
    • 66 Metascore
    • 60 David Edelstein
    The movie isn't unwatchable. It's clumsily good-natured, the actors are appealing, and there are worse ways to spend two hours than looking at pretty young girls in shorts kicking balls. But the movie is way, way too pleased with itself.
    • 48 Metascore
    • 60 David Edelstein
    Full Throttle is full-throttle camp: It's like a third-rate Austin Powers picture cut to the whacking, attention-deficit-disorder tempo of "Moulin Rouge."
    • 70 Metascore
    • 60 David Edelstein
    Ozon devises tantalizing scenarios and immerses himself completely--then seems happy to tread water.
    • 81 Metascore
    • 60 David Edelstein
    I found the film -- excruciatingly flat-footed, with one of the most exasperating scores (by Philip Glass) ever written. The most fascinating thing in the movie is a nose.
    • 45 Metascore
    • 60 David Edelstein
    It's totally implausible, and yet it gets at something unnervingly real: the way that people can blow a budding relationship by being too honest with each other.
    • 63 Metascore
    • 60 David Edelstein
    Pirates is OK, in patches even better.
    • 69 Metascore
    • 60 David Edelstein
    The Slums of Beverly Hills never gels, but it has a likable spirit, and it's exceedingly easy on the eye, with lots of pretty girls and wry evocations of '70s fashions and decor.
    • 52 Metascore
    • 60 David Edelstein
    The movie is sweet but deeply suspect: It's like "Lost Horizon" re-imagined by a realtor.
    • 71 Metascore
    • 60 David Edelstein
    The glibness exhausts you, and the Coens are emotionally so far outside their subject that Intolerable Cruelty is finally no different from most of the other dumb slapstick spoofs that pass for screwball comedy these days.
    • 69 Metascore
    • 60 David Edelstein
    Kill Bill is about nothing more (or less) than its director's passion for the mindless action pictures that got him through adolescence. It isn't sex without love: It's an orgy with just enough love.
    • 56 Metascore
    • 60 David Edelstein
    Frustratingly anemic, the filmmakers hiding behind their good taste and sensitivity. They might as well have gone for broke, since Plath and Hughes' daughter accused them of monstrous exploitation anyway.
    • 70 Metascore
    • 60 David Edelstein
    It's a daring and original effort, yet so noncommittal--so purposely vague--that it's apt to leave you flummoxed: at once stricken and etherized.
    • 55 Metascore
    • 60 David Edelstein
    It's too florid, too calculated, too too. Here's my emotional declaration: I love Richard Curtis' work. But I can't help feeling that the Bard of Embarrassment could use a touch more shame.
    • 55 Metascore
    • 60 David Edelstein
    All its themes are laid out like index cards on a screenwriter's bulletin board, and each plot turn seems so inevitable that you'll think you saw this movie in a previous life. (You did.)
    • 74 Metascore
    • 60 David Edelstein
    Apart from Theron and Christina Ricci as her lover, there's nothing in Monster that rises above the level of doggedly well-meaning, although the film is worth seeing for the acting and as a sort of palate-teaser for Broomfield and Churchill's documentary.
    • 82 Metascore
    • 60 David Edelstein
    It's true that the movie, arrested between documentary and drama, doesn't quite do justice to either medium: The actors playing Joe and Simon don't have anything like "lines" to simulate "drama," or even just "conversation," while the real guys often fall back on bland English understatement.
    • 62 Metascore
    • 60 David Edelstein
    It doesn't entirely gel, but few directors could explore the collision of the ego and the outside world with such sympathy or purpose. It's possible that the NC-17 has never been used to such PG-13 ends.
    • 63 Metascore
    • 60 David Edelstein
    Even with her stinko lines, Weaver has never been as flabbergastingly gorgeous and charismatic. She's tall and lean and meteor-hard, and you can almost believe there's really acid in her blood, and that no alien in its right mind would mess with her.
    • 63 Metascore
    • 60 David Edelstein
    After an electrifyingly feral opening, the movie settles down into a cogent courtroom drama, with no real cinematic highs but no jaw-dropping lows, either.
    • 47 Metascore
    • 60 David Edelstein
    The film is seamlessly made, its mood balanced dreamily between sexy-funny and sexy-scary.
    • 53 Metascore
    • 60 David Edelstein
    A simple, chronological history, narrated with melancholy gravitas by Morgan Freeman.
    • 52 Metascore
    • 60 David Edelstein
    A thriller of serpentine excitement all the way up to that dud of a climax.
    • 60 Metascore
    • 60 David Edelstein
    The X-Files isn't so much a bad movie as it is a crackerjack piece of television. It's crisply made--not sodden like many of the "Star Trek" pictures. But it's as annoyingly open-ended as the rest of the series' episodes.
    • 58 Metascore
    • 60 David Edelstein
    When those talking heads metamorphose into familiar ranting heads, it becomes another mesmerizing right-wing horror show.
    • 53 Metascore
    • 60 David Edelstein
    Charming self-made vehicle.
    • 57 Metascore
    • 60 David Edelstein
    Mr. 3000 is refreshing because it ends on a slightly sour, dissonant note: Stan wins, but not in the way he imagines. It's a nice change from the sports films that end with fists pumping and crowds going nuts.
    • 65 Metascore
    • 60 David Edelstein
    Closer is in the same arena as Labute, and I found it sour and airless, with the feel of a mathematical proof. The acting is superb, though, with one key exception. Jude Law.
    • 62 Metascore
    • 60 David Edelstein
    Amounts to a pantheistic love-in: "A Fish Called Wanda" for vegetarians.
    • 59 Metascore
    • 60 David Edelstein
    It would be imprecise to say that the thrill is gone, because The Lost World recovers from its turgid opening and comes to life, or does so in spasms.
    • 72 Metascore
    • 60 David Edelstein
    Pure misery.
    • 55 Metascore
    • 60 David Edelstein
    This isn't an objectionable movie, just a mild, obvious, and rather limp one, with plenty of little jolts but no ejaculatory payoff.
    • 21 Metascore
    • 60 David Edelstein
    I must admit that I find those motifs -- and the Farrellys' universe in general -- more sweet than offensive, and I liked Say It Isn't So just so. So there.
    • 34 Metascore
    • 60 David Edelstein
    Elektra isn't half-bad--only maybe two-fifths.
    • 72 Metascore
    • 60 David Edelstein
    I'm not sure what Kontroll adds up to, but if you're looking for a rackety journey into the bowels of urban life, this is your movie.
    • 56 Metascore
    • 60 David Edelstein
    I prefer the Farrellys when they're disreputable and push the boundaries of taste, because they're otherwise a tad sentimental.
    • 73 Metascore
    • 60 David Edelstein
    Araki is trying to work from the inside out; and he captures feelings about sexual exploitation that I've never seen onscreen--not all of them negative.
    • 72 Metascore
    • 60 David Edelstein
    Fascinating for the issues--ethical, aesthetic, psychoanalytic--it raises. But it doesn't fully come together.
    • 68 Metascore
    • 60 David Edelstein
    What a shock when George Lucas finds his footing and the saga once again takes hold.
    • 50 Metascore
    • 60 David Edelstein
    There is nothing wrong with the action sequences beyond their sheer length and number. They're in the "Road Warrior" mode: hyper-fast and vicious.
    • 33 Metascore
    • 60 David Edelstein
    A decent-enough rambunctious Southern-drive-in sort of time-waster, missing only the bare boobs that would make it the perfect socially irresponsible sexist entertainment for rednecks and uptight liberal elites who'd like to live the country-boy dream for a few hours. (Howdy, y'all!)
    • 73 Metascore
    • 60 David Edelstein
    Too long, too sexist, and too--shall we say--flaccid. But it has its moments.
    • 59 Metascore
    • 60 David Edelstein
    A more down-to-earth actor would sentimentalize Breakfast on Pluto and make for an awkward fit with its peculiar mix of tones. Murphy's strangeness--his chill estrangement--makes his campy "Kitten" persona more poignant.
    • 36 Metascore
    • 60 David Edelstein
    Aeon Flux is not that terrible. It's certainly more fun than a lot of films that get lovingly showcased.
    • 87 Metascore
    • 60 David Edelstein
    Brokeback Mountain could use a little more of it--by which I mean more sweat and other bodily fluids. Ang Lee's formalism is so extreme that it's often laughable, and the sex is depicted as a holy union: Gay love has never been so sacred.
    • 71 Metascore
    • 60 David Edelstein
    To work onscreen, Thank You for Smoking needed to be fast, scruffy, and offhand. But even the good lines here last a self-congratulatory beat too long. Aaron Eckhart is likable, but he's too hangdog and naturalistic for a part that could have used a brisk young Jack Lemmon type.
    • 70 Metascore
    • 50 David Edelstein
    The Science of Sleep transports you, but it strands you, too. Apart from the time-machine bit and two or three other daft exchanges, Gondry’s scenes tend to circle around the same drain: the hero’s insufferable narcissism.
    • 75 Metascore
    • 50 David Edelstein
    An unusually powerful mess, a broad satire of suburban self-indulgence with little in the way of a consistent style, and with a character who's serious business: a convicted child molester.
    • 66 Metascore
    • 50 David Edelstein
    The tit-for-tat scenario ought to be wildly entertaining, but the magic is crude, the characters flyweight, and the story protracted and unpleasant.
    • 89 Metascore
    • 50 David Edelstein
    Except for a screamingly funny climax in which he attempts to kidnap Pamela Anderson (who reportedly wasn't in on the joke), I found the Borat feature (directed by Larry Charles, who does similar duties on "Curb Your Enthusiasm") depressing; and the paroxysms of the audience reinforced the feeling that I was watching a bearbaiting or pigsticking.
    • 69 Metascore
    • 50 David Edelstein
    In their last collaboration, "21 Grams," the director Alejandro González Iñárritu and screenwriter Guillermo Arriaga did syntactical acrobatics to disguise what a dreary and exploitive little soap opera they’d made. Their new movie, Babel, is more mysterious and less coherent.
    • 50 Metascore
    • 50 David Edelstein
    The tall, cool Kidman works hard to impersonate a woman possessed, but she's not the type of actress to fill in a role that hasn't been filled in on paper.
    • 51 Metascore
    • 50 David Edelstein
    The movie would be more bearable without the unyielding score by Clint Mansell, which somehow melds the worst of Minimalism, art rock, and New Age music. It's what you'd hear if your massage therapist wanted to induce a stroke.
    • 76 Metascore
    • 50 David Edelstein
    I know I'm going to bring down the room by saying I think it's just okay. Well, Jennifer Hudson is more than okay.
    • 49 Metascore
    • 50 David Edelstein
    Steven Soderbergh is usually an inspired chameleon, perfectly suiting his style to his content. But The Good German is an ambitious miss...It's all very beautiful, high-minded, and remote.
    • 72 Metascore
    • 50 David Edelstein
    Inland Empire is way, way beyond my powers of ratiocination. It's the higher math.
    • 56 Metascore
    • 50 David Edelstein
    This is an ambitious midlife-crisis movie that valiantly weaves together big themes, among them the nagging guilt of the successful, wealthy artist.
    • 66 Metascore
    • 50 David Edelstein
    Working in a mini-genre whose bones would appear to have been picked clean by the likes of Kevin Williamson and Wes Craven, Glosserman and Stieve find a few pints of fresh blood.
    • 64 Metascore
    • 50 David Edelstein
    Avenue Montaigne would be difficult to stomach if it weren't so light and uninsistent, and if its actors weren't so charming. I still rolled my eyes--but sometimes I do that when I get a really good croissant.
    • 53 Metascore
    • 50 David Edelstein
    This is the first big-studio action picture with some of the disgusted, bloody nihilism of the post-Vietnam era.
    • 61 Metascore
    • 50 David Edelstein
    The film is slick when it needs to be raw, tidy when it needs to sprawl, and amorphous when it needs to focus.
    • 54 Metascore
    • 50 David Edelstein
    If "Psycho" and "Peeping Tom" are the seminal killer-as-voyeur movies, Vacancy is the nasty little runt offspring with no other purpose in life but to gnaw on you.
    • 44 Metascore
    • 50 David Edelstein
    If you want proof that Will Ferrell is the most riotously funny straight man since Jack Benny, observe the way his utter sincerity (in the Ralph Bellamy role, as Wendell’s rival for Eva Mendes) lifts this two-ton piece of whimsy into the stratosphere.
    • 45 Metascore
    • 50 David Edelstein
    The film is based on a novel by Susan Minot--one of those books where the author doesn't deign to put dialogue in quotation marks for fear of dispelling the dreamlike mood. It works on paper, but Minot, who shares credit for the adaptation with fellow novelist Michael Cunningham, doesn't understand that screenwriting is the art of taking away.
    • 69 Metascore
    • 50 David Edelstein
    The line between eeriness and tedium is fatally fluid.
    • 55 Metascore
    • 50 David Edelstein
    A bearable period chick flick with a self-congratulatory “realistic” conceit.
    • 63 Metascore
    • 50 David Edelstein
    The movie has grand (and Grand Guignol) bits and pieces, but despite the hype it’s no big deal. By horror standards, the premise isn’t especially outlandish.
    • 73 Metascore
    • 50 David Edelstein
    With all the narration and fits of slow motion, the movie seems like the work of a nervous chain-smoker. It lacks concentration--and with it, the potential for rapture.

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