David Edelstein
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For 1,594 reviews, this critic has graded:
  • 46% higher than the average critic
  • 2% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 3.8 points higher than other critics. (0-100 point scale)

David Edelstein's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 War Horse
Lowest review score: 0 The Amityville Horror
Score distribution:
1,594 movie reviews
    • 45 Metascore
    • 50 David Edelstein
    Crowe gets to use his real Aussie voice, which works better with that poker face, and his underplaying at times has a psychotic intensity. But Ryan looks dopey when she's supposed to be stressed-out.
    • 75 Metascore
    • 50 David Edelstein
    I think Levinson missed a chance to get something unique and audacious on screen.
    • 46 Metascore
    • 50 David Edelstein
    The only moments of conviction come from an Asian-American dominatrix called Pearl (Lucy Liu), who brings far more glee to the task of beating people up than the picture's star or director. If the audience could have half as much fun as Pearl is having, Payback would be a kick.
    • 60 Metascore
    • 50 David Edelstein
    It more or less works.
    • 61 Metascore
    • 50 David Edelstein
    This slender, increasingly monotonous stalker plot feels ludicrously overintellectualized-full of hot air.
    • 44 Metascore
    • 50 David Edelstein
    The movie is a polished muddle, fitfully amusing but with no spine.
    • 57 Metascore
    • 50 David Edelstein
    The director's knee-jerk anti-capitalism often sticks in my (white, well-fed) craw.
    • 46 Metascore
    • 50 David Edelstein
    I like my God, though, like I like my comedies: ruder, cruder, and able to show me things I haven't seen before. Bruce Almighty is sadly miracle-free.
    • 71 Metascore
    • 50 David Edelstein
    There are times when Dafoe's accent strays into Billy Crystal Yiddish, but the notion of Vlad the Impaler aging into a finicky old Jew has its own kind of piquancy.
    • 65 Metascore
    • 50 David Edelstein
    What's a shock is the crudeness with which Spielberg fills the scenario in -- how he neuters his protagonist and short-circuits the inner workings of his human characters.
    • 74 Metascore
    • 50 David Edelstein
    Cameron has never been known for his dialogue, but Titanic carries some stinkers that wouldn't make the final draft of a "Days of Our Lives" script.
    • 64 Metascore
    • 50 David Edelstein
    As a movie, Harry Potter and the Sorcerer's Stone has no inner life -- no pulse -- of its own: It's secondhand.
    • 59 Metascore
    • 50 David Edelstein
    As a scare picture, Signs is good enough. As a religious parable, it's scarier -- and I don't mean that as a compliment.
    • 64 Metascore
    • 50 David Edelstein
    What's left is a wan and impersonal whodunnit -- a movie that never gets into your blood.
    • 75 Metascore
    • 50 David Edelstein
    What saves Zatoichi is that it ends -- for no clear reason -- with a foot-stomping ensemble dance number that is both delightful and unhinging: It sends you home with spasmodic giggles, convinced this Japanese imp has discovered a new path to your unconscious.
    • 50 Metascore
    • 50 David Edelstein
    The film is too metronomically paced for Kilmer's routines to develop any rhythm. The direction by Phillip Noyce is fluid but impersonal. Endless studio tinkering seems to have dissolved its spine.
    • 53 Metascore
    • 50 David Edelstein
    It has strong moments and fine, unsentimental performances, but it doesn't jell as a story.
    • 52 Metascore
    • 50 David Edelstein
    Succeeds in dramatizing the resentment and guilt on all sides without just adding to the noise.
    • 30 Metascore
    • 50 David Edelstein
    Denzel Washington is so powerfully earnest an actor that you never want to laugh at him -- even when you ought to be in stitches.
    • 55 Metascore
    • 50 David Edelstein
    It's coarse, primitive, regressive, often very stupid, and sometimes, against all odds, really a hoot.
    • 67 Metascore
    • 50 David Edelstein
    It delighted me; it disgusted me. I celebrate it; I lament it. I'm sure of only one thing: that I don't trust anyone--pro or con--who doesn't feel a twinge of doubt about his or her responses.
    • 64 Metascore
    • 50 David Edelstein
    This is ho-hum, straight-to-video material. And yet, even at its most crawlingly linear, Jackie Brown is diverting. If nothing else, I was diverted by the director's gall at stretching out those vacuous scenes.
    • 63 Metascore
    • 50 David Edelstein
    This is one of Penn's punishing, single-dimension performances, and it seems to be even more whiningly masochistic than what's called for in the script.
    • 39 Metascore
    • 50 David Edelstein
    Forget Alexander: The film is a pedestal to Angelina the great.
    • 65 Metascore
    • 50 David Edelstein
    Despite glimmers of wit and a hipper-than-thou cast, it's painstakingly smug, and smaller than the sum of its parts.
    • 57 Metascore
    • 50 David Edelstein
    It's about unruly passion, but it's icy and cerebral, and Robbins has become a disappointingly tentative actor, playing emotionally straitjacketed men in a self-imposed straitjacket.
    • 63 Metascore
    • 50 David Edelstein
    This is not to say that it is bad writing, shooting, or acting: It would need to be more ambitious to be bad. It is simply the most mundane sort of behavior presented in the most mundane sort of way.
    • 71 Metascore
    • 50 David Edelstein
    It's too bad that halfway through, Collateral turns into a series of loud, chaotic, over-the-top action set pieces in which the existentialist Mann proves he's lousy at action.
    • 59 Metascore
    • 50 David Edelstein
    It walks and talks and moves very fast, but it never lives.
    • 56 Metascore
    • 50 David Edelstein
    Often plays like what it is: a clunky toga-and-sandals picture, with Hollywood compromises abounding.
    • 83 Metascore
    • 50 David Edelstein
    Marathon of misery.
    • 62 Metascore
    • 50 David Edelstein
    Underwhelming.
    • 62 Metascore
    • 50 David Edelstein
    This one is a mess--a misshapen, mawkish tragicomedy bordering on self-parody. Its ambitions deserve respect, though.
    • 41 Metascore
    • 50 David Edelstein
    From the start the jokes are on a different level than the last one: coarse, aggressive, and poorly timed by director Jay Roach.
    • 67 Metascore
    • 50 David Edelstein
    I suppose it's too much to expect Pirandellian stature from the madness of Chuck Barris -- but that's about the only thing that would have made this mixed-up ego trip work.
    • 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.
    • 69 Metascore
    • 50 David Edelstein
    The line between eeriness and tedium is fatally fluid.
    • 56 Metascore
    • 50 David Edelstein
    The story is hell to follow--the flashbacks aren’t in chronological order--and the nonacting variable.
    • 57 Metascore
    • 50 David Edelstein
    The middling romantic comedy Smart People, which centers on a hyperintellectual dysfunctional family, is of interest chiefly for the first post-Juno role of Ellen Page.
    • 56 Metascore
    • 50 David Edelstein
    Zalla, a graduate of Columbia's film school, is talented and single-minded. He needs to lighten up, literally. He frames his characters to bring out all their sweaty desperation, and his palette is dark with splashes of muddy brown; even the street scenes look as if they were shot in a dungeon.
    • 44 Metascore
    • 50 David Edelstein
    Works only in spurts.
    • 69 Metascore
    • 50 David Edelstein
    The film is repetitive, top-heavy: Wright blows his wad too early. But a different lead might have kept you laughing and engaged.
    • 65 Metascore
    • 50 David Edelstein
    I hope that in Part 2, Yates and screenwriter Steve Kloves give Fiennes a better send-off than Dame J.K. did in her less-than-wizardly climactic wandathon. Having made us sit through two and a half hours with no payoff, they'd better not go all Muggle on us. Next time, we want magic, people.
    • 39 Metascore
    • 50 David Edelstein
    At least The Green Hornet is likable, and a refreshing change from the heavy, angst-ridden superhero pictures so beloved by obnoxious fanboys.
    • 56 Metascore
    • 50 David Edelstein
    Hereafter occupies some muzzy twilight zone, too woo-woo sentimental to be real, too limp to make for even a halfway decent ghost story.
    • 43 Metascore
    • 50 David Edelstein
    The drama is so muddled that Shakespeare seems to be getting in the way of Taymor's spectacle, the magic long gone by the time Prospera hurls her staff off into the sea.
    • 46 Metascore
    • 50 David Edelstein
    The sad part is that How Do You Know is nowhere near as dumb as it looks. A couple of comic set pieces are inspired-or would be, if Brooks's timing weren't off.
    • 60 Metascore
    • 50 David Edelstein
    Larsson is renowned for his attention to marginal details, which gives his prose a rambling, one-thing-after-another pace that many readers find soothing. Onscreen, the lack of acceleration makes for one of those long Scandinavian winter nights.
    • 65 Metascore
    • 50 David Edelstein
    Bier dramatizes our ambivalence so earnestly that it's tempting to give her awards rather than admit that the movie is a crushing bore.
    • 52 Metascore
    • 50 David Edelstein
    The thing is scary as hell when it's all creaks and thumps and doors swinging open. Then come the explanations, the special effects, and the inevitable feeling of been-there-been-­bombarded-by-that.
    • 60 Metascore
    • 50 David Edelstein
    Gibson is better in the later scenes, when Walter tries to escape the Beaver's nefarious influence. And Gibson's never bad. It's just that we know how much is missing. As a raging nutcase, he's capable of so much more.
    • 67 Metascore
    • 50 David Edelstein
    Watching The Hunger Games, I was struck both by how slickly Ross hit his marks and how many opportunities he was missing to take the film to the next level - to make it more shocking, lyrical, crazy, daring.
    • 41 Metascore
    • 50 David Edelstein
    The film is sometimes gentle to the point of blandness, but it's never flimsy.
    • 70 Metascore
    • 50 David Edelstein
    It's the only Almodóvar movie in which feeling, emotional or sexual, doesn't suffuse the imagery and hold the ramshackle melodrama together.
    • 31 Metascore
    • 50 David Edelstein
    The gut-whomping, high-concept romantic thriller This Means War is not a distinguished addition to director McG's oeuvre.
    • 57 Metascore
    • 50 David Edelstein
    The performance is extraordinary, literally: Close resembles no man I've ever seen, or woman either. She's the personification of fear - the fear of being seen through, seen for what she is.
    • 58 Metascore
    • 50 David Edelstein
    The finished product is in a different league than the whompingly terrible Men in Black II - it hits its marks. But it's not inventive enough to overcome the overarching inertia, the palpable absence of passion.
    • 46 Metascore
    • 50 David Edelstein
    The Snow White comedy Mirror, Mirror turns out to be not that terrible - or maybe it's that the terrible first half hour wears you down so much that the rest seems relatively pleasant.
    • 76 Metascore
    • 50 David Edelstein
    The non-ending turns the whole movie into an elaborate tease, too creepy to dismiss, too shallow to justify its "ambiguities."
    • 50 Metascore
    • 50 David Edelstein
    Roach is too stiff a director to give Ferrell room to romp. Bits like the one in which he's challenged to recite "The Lord's Prayer" needed extra zigs and zags instead of variations on the same joke. A looser director like Adam McKay (Step Brothers) might have created a happier climate for improv.
    • 62 Metascore
    • 50 David Edelstein
    There is one nice pop-up scare against a dozen or so false, ineffectual ones - a poor percentage. As the title states, she is a woman and wears black, but she might as well be a hastily decked-out script girl for all her impact.
    • 61 Metascore
    • 50 David Edelstein
    The action is bludgeoning. When Max gets pummeled by fists and lethal objects, we get pummeled by light and noise and rock-'em-sock-'em editing. No shrimp, though. As a narrative, "District 9" wasn't particularly original, either — in the end it was a standard conversion melodrama. But everything is better with shrimp.
    • 58 Metascore
    • 50 David Edelstein
    The grandeur of the Lord of the Rings trilogy [has] been replaced by something that resembles tatty summer-stock theater.
    • 55 Metascore
    • 50 David Edelstein
    The movie isn’t dead on arrival, like Snyder’s over-reverent "Watchmen." But it’s pleasure-free.
    • 64 Metascore
    • 50 David Edelstein
    Pacific Rim made me marvel at the technology of movies, but never the magic of them.
    • 53 Metascore
    • 50 David Edelstein
    Bloated and often boring and has absolutely no reason to exist, but that it also hits its marks. No fanboy will pass it up. No studio head will lose his or her job.
    • 63 Metascore
    • 50 David Edelstein
    Without a character, he’s (Pitt) back to that soft, appraising, Robert Redford Jr. stare, his mouth half open as if he’s about to speak but plainly with nothing on his mind apart from, “This is what a movie star looks like without any lines.” The ghouls are having deeper thoughts.
    • 64 Metascore
    • 50 David Edelstein
    Neeson's gravity elevates the action, and there's a fine, prickly performance by an actor new to me, Frank Grillo, as the asshole of the group. But The Grey, despite moments of sublimity, is as predictable as a funeral. When Ottway angrily calls out to God, the nonanswer is sadly redundant.
    • 65 Metascore
    • 50 David Edelstein
    Streep and Jones make themselves small: She's chirpy; he's crusty. Incessant pop standards on the soundtrack supply the emotion the director can't. All that's missing are commercials for estrogen cream and erectile-dysfunction meds.
    • 51 Metascore
    • 50 David Edelstein
    Ender’s Game’s only lyrical presence is Breslin’s. The actress has a gentle soul. In the end, she’s the movie’s mascot, and its mournful spirit.
    • 70 Metascore
    • 50 David Edelstein
    As Brown becomes more flagrantly self-destructive and at the same time more deluded, you realize you're watching "Bad Lieutenant" made by a tediously finger-wagging Jew instead of a tediously desecrating Catholic.
    • 58 Metascore
    • 50 David Edelstein
    Although it's shot in lovely, dusty shades of brown with splashes of Coca-Cola red, John Hillcoat's Lawless is dead weight: listlessly classical and then bludgeoning.
    • 57 Metascore
    • 50 David Edelstein
    The passing of the torch from Raimi to Alvarez is not a momentous occasion. In the end, who really cares? Five years from now, will you want to watch this bloody $14 million extravaganza or Raimi’s shoestring original, which was Amateur Hour elevated to pop art?
    • 60 Metascore
    • 50 David Edelstein
    Slapped with the generic title The Wolverine, the fifth feature-length appearance of Hugh Jackman’s X-Man John Logan is basically "The Bad News Wolverine Goes to Japan" and is not especially world-shaking.
    • 52 Metascore
    • 50 David Edelstein
    I enjoyed this piece of southern-fried screwball Gothic whimsy (with jolts of CGI spell-casting for the multiplex crowd) so much that I’m sad to admit that it’s nowhere near as potent as "Twilight."
    • 86 Metascore
    • 50 David Edelstein
    I hope I'm not raining on Beasts of the Southern Wild's deluge to say it doesn't always live up to its pretensions. There's a lot of unshaped babble and draggy landscape shots, and the music, so lovely in small doses, is numbing when it's ladled over everything.
    • 41 Metascore
    • 50 David Edelstein
    If you can stay awake, you'll see a performance by ­Keaton that is radiant in its simplicity, all ditheriness shaken off. She's still ­peaking - ­someone give her a great role.
    • 50 Metascore
    • 50 David Edelstein
    The whole movie is like an NRA wet dream, with Robert Duvall as a crusty gun-range owner who pitches in to shoot bad guys. Jack Reacher already feels as if it belongs to another era.
    • 67 Metascore
    • 50 David Edelstein
    It's a great metaphor - but not a great movie. Jonathan Dayton and Valerie Faris direct in a drably naturalistic style, and the script is thin.
    • 45 Metascore
    • 50 David Edelstein
    The highest-gloss revenge porn imaginable. It’s hard to believe that so much visual elegance has been brought to bear on material so ugly, and yet the disjunction is intentional, and the film is all of a piece.
    • 67 Metascore
    • 50 David Edelstein
    Some of that fun is infectious. For a while. Maybe 45 minutes. But when actors look as if they’re having a better time than you are, the buzz wears off fast. You turn into a wallflower at an especially obnoxious party.
    • 48 Metascore
    • 50 David Edelstein
    The film would be better if it were gentler. It's broadly written and played, the actors too busy telegraphing their characters' emotions to let us contemplate their faces in peace.
    • 55 Metascore
    • 50 David Edelstein
    About Time is like a sermon that starts with a few good jokes and ends with tremulous exhortations to live, live.
    • 68 Metascore
    • 50 David Edelstein
    The segments are essentially monodramas, so sketchily written that the big moments feel less like recognizable human behavior than recognizable screenwriter overreaching.
    • 74 Metascore
    • 50 David Edelstein
    Villeneuve is trying like hell to elevate what turns out to be a dumb genre picture.
    • 58 Metascore
    • 50 David Edelstein
    To the Wonder feels like generalized woo-woo—and self-parody.
    • 68 Metascore
    • 50 David Edelstein
    The story doesn’t feel dramatized. It feels pitched.
    • 58 Metascore
    • 50 David Edelstein
    In the all-star movie adaptation of August: Osage County, another play that holds the stage with fang and claw feels less momentous onscreen.
    • 76 Metascore
    • 50 David Edelstein
    The movie substitutes milky, washed-out color and funereal music for insight. The murders are purposely un-fluid: When you see Mohammad or Malvo take a shot, you don’t see the impact of the bullet. When you see the victim struck, you don’t see the shooter.
    • 51 Metascore
    • 50 David Edelstein
    Lovelace is a respectable job, but it never goes deep.
    • 63 Metascore
    • 50 David Edelstein
    We’re supposed to take this more seriously because it takes itself more seriously.
    • 62 Metascore
    • 50 David Edelstein
    The problem is that he — unlike most modern sci-fi directors, who throw so much CGI at you that they make miracles cheap — seems peculiarly stingy when it’s time to deliver.
    • 54 Metascore
    • 50 David Edelstein
    To be fair, some of it is good, very good. Jersey Boys has an easy, likable gait. It’s Eastwood’s most fluid film: He gets the swing of the music without fancy editing.
    • 77 Metascore
    • 50 David Edelstein
    Blue Ruin is more artful and evocative than any recent revenge picture, but it’s still drivel.
    • 54 Metascore
    • 50 David Edelstein
    It starts off with a flourish and winds up limp, like a rabbit pulled out of a hat that turns out to be dead.
    • 50 Metascore
    • 50 David Edelstein
    Life After Beth is a reasonably fun, medium-gory horror comedy that’s better before the innards hit the fan.
    • 79 Metascore
    • 40 David Edelstein
    The elements of Precious are powerful and shocking, but the movie is programmed. It is its own study guide.
    • 44 Metascore
    • 40 David Edelstein
    Weitz’s pacing is so limp you’re going to need the electricity generated by a live audience to keep from yelling, “Hurry it up!”
    • 66 Metascore
    • 40 David Edelstein
    This is yet another of Soderbergh’s “exercises in style,” which means he has one big idea and sticks to it. He makes the space shallow and ugly (faces are bathed in orange) and adds groovy sixties titles and Marvin Hamlisch music.
    • 32 Metascore
    • 40 David Edelstein
    The film turns into one of those indie parades of eccentrics that are hit-and-miss but mostly miss.
    • 60 Metascore
    • 40 David Edelstein
    9
    For all the Saturday-matinee heroics, the movie is dreary and monotonous, the vision junky in more ways than one.
    • 67 Metascore
    • 40 David Edelstein
    It's heartbreaking how rich this failed project is, with enough poetry for several great movies, but not enough push for one.
    • 52 Metascore
    • 40 David Edelstein
    With McG's migraine-inducing jerky-cam and monochromatic palette (livened only by splotches of rust), Terminator Salvation puts the numb in numskull.
    • 58 Metascore
    • 40 David Edelstein
    Travel--finding the self by escaping the self--is central to the novels of Eggers and Vida, but Mendes knows where he's going before he gets there. And so the subject of Away We Go turns out to be not travel but child-rearing, which is at best well-meaning and anguished and at worst downright monstrous.
    • 64 Metascore
    • 40 David Edelstein
    Gladiator's combination of grim sanctimony and drenching, Dolby-ized dismemberings left me appalled.
    • 66 Metascore
    • 40 David Edelstein
    Most of the dialogue is listless, and no matter how much Soderbergh snips and stitches, the movie is a corpse with twitching limbs.
    • 44 Metascore
    • 40 David Edelstein
    Begins too cruelly and ends too sappily but holds you somewhere between the two extremes until the semisweet finale.
    • 54 Metascore
    • 40 David Edelstein
    The Australian actress Radha Mitchell is the only reason to see the movie: She has an extraordinary open face and a way of mixing dreaminess with sudden bursts of lacerating emotion that recalls Jessica Lange.
    • 34 Metascore
    • 40 David Edelstein
    Enjoyable in patches, but only because of the goodwill that most of us still have toward Sandra Bullock.
    • 62 Metascore
    • 40 David Edelstein
    Too bloated with its own significance to deliver the requisite thrills.
    • 41 Metascore
    • 40 David Edelstein
    Isn't bad as these things go, although these things go nowhere a healthy individual should want to. Having never claimed to be a healthy individual, I found it tolerable.
    • 34 Metascore
    • 40 David Edelstein
    Using R.E.M.'s impassioned "Everybody Hurts"--written by Michael Stipe after the suicide of Kurt Cobain--to underscore shots of Kidman and Ferrell feeling blue about their inability to pair off is an aesthetic crime. The Ephrons should be fined and forced to do a few hundred hours of community service.
    • 62 Metascore
    • 40 David Edelstein
    In any case, the best performance is by Bridgette Wilson-Sampras as the conniving but peppy slut at the perfume counter. Her big scene--farcical, filthy, surprising--is also the best in the movie. Otherwise, Shopgirl is sadly vacuous, with a sadly vacuous center.
    • 53 Metascore
    • 40 David Edelstein
    I found it tiresomely undramatic, even saccharine. Not to mention monotonous.
    • 54 Metascore
    • 40 David Edelstein
    It skips lightly over the surface of its rich material, more preoccupied with making pretty pictures than dipping below the surface so that you can experience the world through the eyes of its traumatized, yet increasingly savvy, heroine.
    • 37 Metascore
    • 40 David Edelstein
    As Willie Stark, Sean Penn demonstrates how a great Method actor can make the world’s most unconvincing rabble-rouser.
    • 45 Metascore
    • 40 David Edelstein
    It was probably hopeless from the start: The Warhol cosmos is too weird and complicated to lend itself to a conventional Hollywood biopic, and this one is conventional down to Warhol's first glimpse of his future "superstar" bouncing up and down vivaciously in tacky slow motion.
    • 45 Metascore
    • 40 David Edelstein
    The Situation is, to put it kindly, a spotty piece of work. The script is by Wendell Steavenson, a reporter who seems to know everything about Iraq and next to nothing about screenwriting. The dialogue is flat, and the actors almost never rise above it.
    • 35 Metascore
    • 40 David Edelstein
    Hannibal Rising is basically a Steven Seagal vigilante movie with a hero who eats the people he kills. At least it's ecofriendly.
    • 45 Metascore
    • 40 David Edelstein
    If the movie were just these two (Costner/Hurt), bopping around arguing and offing people, it would have been better than the unholy mess it turns into.
    • 37 Metascore
    • 40 David Edelstein
    Evan Almighty runs out of comic invention early, and the filmmakers fall back on what real politicians do when they exhaust their small stash of ideas: brainless piety.
    • 73 Metascore
    • 40 David Edelstein
    The Camden 28 is slapdash: more talking heads, reunion footage with the mother reading from her own testimony, newscasts of the day. But the editing supplies some urgency, and the subjects remain radiant yet down-to-earth--too good-humored to be beatific.
    • 46 Metascore
    • 40 David Edelstein
    As you watch the nannies mistreated and the children left to cry themselves to sleep, the only surprise is that there are no surprises. It’s zombie-land.
    • 56 Metascore
    • 40 David Edelstein
    Foster’s feminist victimization complex seems to be looping around to meet Nixon and Agnew. Next she’ll be hunting Commies for the FBI.
    • 45 Metascore
    • 40 David Edelstein
    An unholy mixture of the banal and the bombastic.
    • 54 Metascore
    • 40 David Edelstein
    The film will be huge. It’s busy. It’s kinetic. It’s a treat for kids. But like much of Seinfeld’s work outside his TV show, it’s impersonal. It doesn’t come from anywhere interesting.
    • 47 Metascore
    • 40 David Edelstein
    Robert Redford’s Lions for Lambs is the clunkiest, windiest, and roughest of the lot. Most of it is dead on the screen. But its earnestness is so naked that it exerts a strange pull. You have to admire a director who works so diligently to help us rise above all the bad karma.
    • 58 Metascore
    • 40 David Edelstein
    A derivative horror picture that somehow rises to the level of a primal scream. The premise is simple, by which I mean both easy to understand and feeble-minded.
    • 51 Metascore
    • 40 David Edelstein
    It was undoubtedly a great experience for everyone involved, and the show itself might have been a romp. But as a movie, Vince Vaughn’s Wild West Comedy Show makes you think of the days in which troupes that didn’t deliver were run out of town, bullets pinging off their heels.
    • 62 Metascore
    • 40 David Edelstein
    Such a clunkerama that it made me rethink all the nice things I wrote about its predecessor, "The Lion, the Witch and the Wardrobe." Could the same people have made both films?
    • 64 Metascore
    • 40 David Edelstein
    It's empty and formulaic, with plotting that's lazy even by stoner-comedy standards. Without all the yuck-o sight gags, it would be a huge bummer.
    • 51 Metascore
    • 40 David Edelstein
    Seyfried (of Big Love and Mean Girls) is a radiant object and can sing, but I'd like to forget the others--especially Brosnan, whose singing is the best imitation I've heard of a water buffalo.
    • 56 Metascore
    • 40 David Edelstein
    W.
    W. isn't gripping enough as drama or witty enough as satire. It's neutered.
    • 56 Metascore
    • 40 David Edelstein
    It's written and directed by Kevin Smith--and hats off to him for being savvy enough to go for a piece of the Apatow action! Too bad he doesn't rise to the occasion.
    • 58 Metascore
    • 40 David Edelstein
    It appears that the filmmakers have taken Hannah Arendt's notion of the "banality of evil" way too literally.
    • 40 Metascore
    • 40 David Edelstein
    As a film, it's overly tidy, and the surreal concentration-camp climax gave at least one viewer an inappropriate fit of giggles.
    • 79 Metascore
    • 40 David Edelstein
    This director is too calculating to hold our trust for long, and skepticism will kill transcendence every time.
    • 48 Metascore
    • 40 David Edelstein
    A shapely, stylish, white-knuckle horror-thriller that hits its marks with blood and thunder. It stinks to heaven, too, but it isn't lame. The streets of Rome haven't run this red since the Inquisition.
    • 48 Metascore
    • 40 David Edelstein
    What I can't accept is that the stringy, insipidly earnest teen idol Zac Efron would grow up to be the defensively ironic, twisty-faced Matthew Perry.
    • 63 Metascore
    • 40 David Edelstein
    Michelle Pfeiffer is brittle in a way that's not especially French, but she's poignant and very lovely. Rupert Friend, on the other hand, is difficult to warm up to, especially with his features hidden behind all that hair. It's not a good sign when you have to take the movie's word for it that the lovers at its center are really, really into each other.
    • 63 Metascore
    • 40 David Edelstein
    It's also rather tawdry. The climax is as ludicrous as any Jack Bauer adventure, and Greengrass is always on shaky ground. Literally.
    • 50 Metascore
    • 40 David Edelstein
    A pretty good action flick -- twisty, marvelously acted, and energetically (if not always coherently) staged.
    • 44 Metascore
    • 40 David Edelstein
    You couldn't ask for a better pair of wild eyes than Jackson's.
    • 44 Metascore
    • 40 David Edelstein
    A movie about a man forced to stop thinking of himself as the center of the universe ends up feeling suffocatingly self-centered.
    • 49 Metascore
    • 40 David Edelstein
    I don't know if Howard had fun directing, writing, and starring in this thing; but he had to have gotten more masochistic pleasure out of it than the audience does.
    • 78 Metascore
    • 40 David Edelstein
    I can't recall another movie that cries out so incessantly for running commentary.
    • 48 Metascore
    • 40 David Edelstein
    Howard and his writers are so in love with their own hip self-consciousness that it's a wonder they don't feature film critics discussing their movie.
    • 34 Metascore
    • 40 David Edelstein
    Dull-witted.
    • 37 Metascore
    • 40 David Edelstein
    The picture is an empty parlor trick, but it's carried out with a master's concentration.
    • 45 Metascore
    • 40 David Edelstein
    Full Frontal could not be more opaque. I honestly don't have a clue what it's about; it went completely over my head.
    • 27 Metascore
    • 40 David Edelstein
    So vanilla yet so transcendentally sleazy that its target audience seems to be pubescent girls and dirty old priests.
    • 64 Metascore
    • 40 David Edelstein
    The film is visually worked out to within an inch of its life, but after 15 minutes you can see where it's going, and along the way there are no surprises.
    • 62 Metascore
    • 40 David Edelstein
    I've shot people for less.
    • 54 Metascore
    • 40 David Edelstein
    The credits had just started and I was already looking for a barf bag.
    • 50 Metascore
    • 40 David Edelstein
    Planet of the Apes has been designed and photographed (by Phillipe Rousselot) with real artistry, but in all the ways that matter it's hack work.
    • 51 Metascore
    • 40 David Edelstein
    Woo could end up becoming the John Ford of schmaltz.
    • 63 Metascore
    • 40 David Edelstein
    The movie's themes are enormously resonant, which makes its doddering tastefulness that much more frustrating.
    • 48 Metascore
    • 40 David Edelstein
    The strands in High Crimes don't coalesce. Those red herrings somehow take over the picture; the thing itself turns into a giant red herring.
    • 45 Metascore
    • 40 David Edelstein
    A piece of exploitive schlock.
    • 48 Metascore
    • 40 David Edelstein
    There isn't a mummy at the center of The Mummy, exactly, but a mutating Industrial Light and Magic Special Effect.
    • 45 Metascore
    • 40 David Edelstein
    One of the deadliest things I've ever sat through and which doesn't display someone's strange mind--only someone's predilection for sniggery camp.
    • 46 Metascore
    • 40 David Edelstein
    You can see the potential, and you can also see the places where Allen didn't (couldn't?) rise to the occasion.
    • 64 Metascore
    • 40 David Edelstein
    Suicidally insecure.
    • 43 Metascore
    • 40 David Edelstein
    Is Brad Pitt the worst actor on earth? The case could be made, and Meet Joe Black could serve as Exhibit A.
    • 50 Metascore
    • 40 David Edelstein
    Less a rounded narrative than a pair of suggestive -- and unresolved -- exercises.
    • 52 Metascore
    • 40 David Edelstein
    It's evidently important to Allen to work, work, work, but he's starting to make his movies by rote instead of passion. Could he handle -- psychologically -- a year or two off? Could he afford -- creatively -- to keep grinding them out?
    • 39 Metascore
    • 40 David Edelstein
    Plays like an inflated Harlequin romance.
    • 46 Metascore
    • 40 David Edelstein
    I'd like to recommend it, but it's too silly. On the plus side, it's ravishingly well directed by Antonia Bird.
    • 32 Metascore
    • 40 David Edelstein
    By the third big climax the audience started to get impatient with the movie's pointless zigs and zags.
    • 38 Metascore
    • 40 David Edelstein
    Caruso is a much more resourceful director than this material deserves, but I resented being two steps ahead of the genius profiler and the genius serial-killer.
    • 19 Metascore
    • 40 David Edelstein
    8MM
    The moral contortions of 8MM seem especially bogus, a sadomasochistic peep show booth pretending to be a confessional.
    • 49 Metascore
    • 40 David Edelstein
    The premise cries out for take-no-prisoners, Terry-Southern-style sick humor; it gets instead a lot of clunky, self-congratulatory in-jokes, and Pacino is left to ham in a vacuum.
    • 40 Metascore
    • 40 David Edelstein
    Had enough grit to scratch its way through my cynical defenses, at least until its grotesque ending. But that capper isn't an aberration -- it's the logical extension of the movie's grandiose ambitions.
    • 44 Metascore
    • 40 David Edelstein
    The movie is a peculiar and unsatisfying hybrid--but above all it's a pedestal to its popular leading man, Ben Stiller.
    • 47 Metascore
    • 40 David Edelstein
    Thanks to Hancock's evasive storytelling, it's never clear why Houston moved so slowly or why so few Texians came to the Alamo's aid. The middle of the movie is pokey and unfocused--and, given the circumstances, bizarrely lacking in urgency.
    • 47 Metascore
    • 40 David Edelstein
    Revolutions isn't as stupefying as "Reloaded"--and, of course, our expectations have been drastically lowered. But it's an abysmal anticlimax all the same.
    • 58 Metascore
    • 40 David Edelstein
    I bet that what Carrey saw from inside Kaufman's head would be more illuminating than anything in the movie.
    • 55 Metascore
    • 40 David Edelstein
    Isn't a disaster, but after an entertaining start it congeals into something icky and fake, and it leaves you thinking that Spielberg and his team of screenwriters (Sacha Gervasi and Jeff Nathanson, from a story by Andrew Niccol and Gervasi) missed the real story.
    • 58 Metascore
    • 40 David Edelstein
    The most fluid, lyrical, and even-toned work of his (Burton's) career. It's also the most boring by a factor of 10.
    • 46 Metascore
    • 40 David Edelstein
    Apart from Caroline Aaron's turn as Darin's overbearing sister...Beyond the Sea has nothing to recommend it.
    • 63 Metascore
    • 40 David Edelstein
    I can't think of a movie this long that has left me so starved for a movie.
    • 44 Metascore
    • 40 David Edelstein
    I found "Pearl Harbor" annoying but not excruciating—even at three hours, it's less assaultive than either "The Mummy Returns" or "Moulin Rouge."
    • 67 Metascore
    • 40 David Edelstein
    Say this for actors: Too self-centered to be embarrassed, they can be existential heroes of a (moronic) sort.
    • 47 Metascore
    • 40 David Edelstein
    Takes off into the comic stratosphere in its first sequence and then slowly sinks to Earth, made logy by its noble means and Sayles' increasing inability to shoot anything but fat clots of undramatic talk in the most boring manner imaginable.
    • 53 Metascore
    • 40 David Edelstein
    The film features plot turns of howling implausibility, leading up to a mechanical climax that resolves the story without forcing either of the principal characters to make the uncommercial decision to blow the other away.
    • 50 Metascore
    • 40 David Edelstein
    In the golden turd that is Eat Pray Love, everyone helps Julia Roberts find herself so she can then experience true love.
    • 74 Metascore
    • 40 David Edelstein
    Inception manages to be clunky and confusing on four separate levels of reality.
    • 60 Metascore
    • 40 David Edelstein
    The doughy Damon and aristocratic Blunt don't match up physically, and they never get any Hepburn-Tracy rhythms going that might create some current.
    • 59 Metascore
    • 40 David Edelstein
    The sequel to an influential eighties motion picture is so loaded with characters and crosscurrents that we wonder why it isn't a thirteen-hour cable mini-series instead of an impacted two-hour mess. The film is like my portfolio: full of promise, with minuscule returns.
    • 49 Metascore
    • 40 David Edelstein
    With a million times more computing power at its disposal than its 1982 predecessor, Tron: Legacy still looks like Disco Night at the jai alai fronton.
    • 55 Metascore
    • 40 David Edelstein
    Love & Other Drugs is crazily uneven, jumping back and forth between jerk-off jokes and Parkinson's sufferers sharing their stories of hope. It's the sort of movie in which half the audience will be drying their eyes and the other half rolling them.
    • 46 Metascore
    • 40 David Edelstein
    Perhaps the late Blake Edwards could have found a balance between slapstick and psychodrama, but Ron Howard can't get the pacing right, and Allan Loeb's script is even wordier than the one he wrote for "Wall Street: Money Never Sleeps."
    • 50 Metascore
    • 40 David Edelstein
    An agreeable time-killer, but I'll bet a couple of clever kids could make a livelier movie with a Woody puppet and a Predator doll.
    • 48 Metascore
    • 40 David Edelstein
    The only reason to put yourself through Guy Ritchie's overblown, inelegant Sherlock Holmes: Game of Shadows is to see Jared Harris, who plays Professor Moriarty, in a chilling low key.
    • 45 Metascore
    • 40 David Edelstein
    Luc Besson's Jumping Frog Action Factory looks mighty lame in Colombiana.
    • 78 Metascore
    • 40 David Edelstein
    Every bit as dumb as August's "Conan the Barbarian" but awash in neon-lit nightscapes and existential dread, with killings so graphic that you can't entirely believe what you're gagging at.
    • 67 Metascore
    • 40 David Edelstein
    It's tempting to praise The Ides of March as a realistic depiction of how low we've sunk. But that would mean accepting the second-rate writing and third-rate melodrama and incredible shrinking characters.
    • 43 Metascore
    • 40 David Edelstein
    There isn't anything in this Total Recall to match the immortal Arnold Schwarzenegger send-offs, "See you at the pah-ty" and everyone's favorite alimony killer, "Consider this a divorce."
    • 55 Metascore
    • 40 David Edelstein
    The screenplay by Seth Grahame-Smith is witless and meandering, though the witlessness wouldn't matter so much if it moved, or the meandering if it were droll.
    • 44 Metascore
    • 40 David Edelstein
    Aside from a trio of witches that can hold its own with Eastwick’s in the dishiness department, Oz the Great and Powerful is a peculiarly joyless occasion.
    • 54 Metascore
    • 40 David Edelstein
    Oblivion is like that movie-within-a-movie: Everything in it feels 100 percent inauthentic. That vibe, as it happens, turns out to be intentional. But when the humans arrive, it’s still a narcotic.
    • 59 Metascore
    • 40 David Edelstein
    It's too bad J. Edgar is so shapeless and turgid and ham-handed, so rich in bad lines and worse readings. Not DiCaprio, though.
    • 61 Metascore
    • 40 David Edelstein
    This is the first bad movie that has ever made me call for a sequel - to get it all right.
    • 63 Metascore
    • 40 David Edelstein
    Every unhappy movie is unhappy in its own way, and Joe Wright's Anna Karenina is as boldly original a miscalculation as any you're likely to see.
    • 40 Metascore
    • 40 David Edelstein
    The period thriller Gangster Squad plays like an untalented 12-year-old's imitation of Brian DePalma's "The Untouchables."
    • 45 Metascore
    • 40 David Edelstein
    The screenwriters go out of their way to prepare you for Taken 3: Serbedzija has more sons, and Kim's virginity is getting harder and harder to preserve.
    • 32 Metascore
    • 40 David Edelstein
    Nearly three %$^&%!!# hours, and they’re brain-freezing.
    • 53 Metascore
    • 40 David Edelstein
    The new Carrie isn’t atrocious — just flat and uninspired and compromised by the kind of mindless teen-movie “humanism” that De Palma so punkishly spat on.
    • 55 Metascore
    • 40 David Edelstein
    The cast comes off like a third-rate stock company on the matinee after the night on which everyone got bombed on mescal (and possibly mescaline).
    • 58 Metascore
    • 40 David Edelstein
    Wasikowska drabs herself down. Her body is undefined in dowdy clothes, her hair hangs limply. But her eyes usher you into her inner world, with its battle between girlish longing and the impatience to move on and be what she really is — whatever that might be. It’s a richer performance than the movie deserves.
    • 48 Metascore
    • 40 David Edelstein
    That first half of Admission is a lot for an actress to overcome. It’s not just very bad, it’s very fast, as if someone had overwound the metronome. Fairly naturalistic lines are delivered at the pace of screwball zingers — which stubbornly refuse to zing.
    • 42 Metascore
    • 40 David Edelstein
    But Besson — by no means a bad filmmaker — has gotten rich off that kind of violence that upsets no one, least of all jaded international action audiences. He tries to have it both ways and fails some of cinema’s most precious resources.
    • 63 Metascore
    • 40 David Edelstein
    Spring Breakers strikes me as another of Korine’s calculated punk outrages, a sploog in Disney’s direction.
    • 49 Metascore
    • 40 David Edelstein
    The lesson of this is that there’s no easy way to dramatize the story of Julian Assange and that trying to turn it into a conventional melodrama is not just politically irresponsible but dull-witted.
    • 57 Metascore
    • 40 David Edelstein
    The Lords of Salem is gloomy, lacks variety, and is not without its flat patches. Heidi is an increasingly dullish heroine, and in the first 15 minutes you’ll know what’s going to happen in the next 80.
    • 75 Metascore
    • 40 David Edelstein
    A veritable orgy of immorality, each scene making the same point only more and more outrageously, the action edited with Scorsese's usual manic exuberance but to oh-so-monotonous effect.
    • 40 Metascore
    • 40 David Edelstein
    The fact that the movie’s focus is how and why he renounced the world, moved to Cornish, New Hampshire, and stopped publishing makes it worse, somehow. Salerno probably didn’t mean it this way, but he gives you the impression he came to mock his subject: We’ve got you now, you antisocial bastard.
    • 39 Metascore
    • 40 David Edelstein
    I hesitate to label the result as bad or good. It’s just … off.
    • 45 Metascore
    • 40 David Edelstein
    Some of the gags do land — maybe one in four. But the genre-parody genre with big stars and poop jokes needs a little more class than MacFarlane is capable of providing.
    • 60 Metascore
    • 40 David Edelstein
    Crudely written, rife with clichés, and leaves out anything that would transform a piece of propaganda into a work of art akin to Samuel Fuller’s "The Steel Helmet," Brian DePalma’s "Casualties of War," or Steven Spielberg’s "Saving Private Ryan."
    • 56 Metascore
    • 40 David Edelstein
    I Origins really loses its oomph when Ian travels to India in search of a particular pair of eyeballs, and the movie closes on a note that would make even M. Night Shyamalan roll his own.
    • 77 Metascore
    • 40 David Edelstein
    Those shots are in contrast to those landscapes, which are craggy, primordial. It’s meant to be a haunting combination, and I have colleagues who’ve found it just that, who came out of the movie ashen, devastated. But I found it bludgeoning — I think it gives new meaning to the phrase hammer of God.
    • 82 Metascore
    • 30 David Edelstein
    Chill to the core, Haneke presents human cruelty not to make us empathize with the victims or understand the oppressors but to rub our noses in the crimes of our species. He thinks he’s held on to the subversive ideals of punk, but all I smell is skunk.
    • 49 Metascore
    • 30 David Edelstein
    Von Trier has said he wanted to make a genre horror picture, but he couldn’t even come up with a decent metaphor: The climax is out of a Grade C hack-’em-up with people chasing each other through the woods with axes and knives.
    • 56 Metascore
    • 30 David Edelstein
    This kind of reverence kills what it seeks to preserve. The movie is embalmed.
    • 37 Metascore
    • 30 David Edelstein
    It’s all so glancing and superficial that the movie doesn’t seem to have a present tense. It goes by like coming attractions. It is, however, a treasury of bad biopic dialogue.
    • 29 Metascore
    • 30 David Edelstein
    The first 45 minutes or so is stupefying--flat, disjointed, missing all human connective tissue.
    • 54 Metascore
    • 30 David Edelstein
    Lousy remake.
    • 50 Metascore
    • 30 David Edelstein
    Borderline incoherent, theologically unsatisfying, and short to the point of dwarfism on suspense.
    • 53 Metascore
    • 30 David Edelstein
    A thesis movie, almost a manifesto for despair, and certainly worthy of the aforementioned NR-DS rating. Except that its bad vibes don't linger. Have dinner and smart conversation with friends, hug a child, pick up a good book--and poof, life returns with a happy vengeance.
    • 31 Metascore
    • 30 David Edelstein
    A depressing comeback for Jane Fonda, but it's still nice to see her in movies again, and in something that isn't dripping with self-actualizing virtue like her last projects.
    • 40 Metascore
    • 30 David Edelstein
    An overinflated B-movie with no grace, no subtext, no wit, and featuring beefcake/cheesecake actors who look like they've been plucked from the soaps.
    • 43 Metascore
    • 30 David Edelstein
    9 Songs could have been "Last Rock Show in London." Unfortunately, it's stupefyingly dull, even with good music and at the short but resonant length of 69 minutes.
    • 46 Metascore
    • 30 David Edelstein
    The acting in this movie is unusually bad--atrocious, even.
    • 62 Metascore
    • 30 David Edelstein
    A sour little psychodrama.
    • 49 Metascore
    • 30 David Edelstein
    Is Death of a President plausible? As political prognostication, perhaps. As a TV documentary, no way in hell. What's missing is shapeliness, suspense, narrative cunning, visual flair--in short, art. Are we really to believe that a network of the future would broadcast such a barbiturate?
    • 54 Metascore
    • 30 David Edelstein
    Exterminating Angels is meant as an autocritique--and yet the director can't get past his notion of himself as a fearlessly transgressive artist-hero, a martyr to the limitations of male gaze.
    • 57 Metascore
    • 30 David Edelstein
    The movie is endless even at less than 90 minutes. You could use it, "A Clockwork Orange" style, as aversion therapy for seemingly incorrigible con artists.
    • 35 Metascore
    • 30 David Edelstein
    Jumper is so in sync with the language of modern action movies that it’s possible to look past its soullessness and go with the quantum flow.
    • 17 Metascore
    • 30 David Edelstein
    Forget Pacino; it’s all those red herrings that reek.
    • 34 Metascore
    • 30 David Edelstein
    A high-toned revenge-of-nature horror picture, it's a little depressed, with only gross-out shocks (gushing jugulars, bodies run over by lawnmowers) to relieve the torpor.
    • 37 Metascore
    • 30 David Edelstein
    When Lee isn't doing cinematic somersaults or mining for injustice, he doesn't seem to know where to put the camera. The logistics of the plot make no sense, and he has nothing to sell but the theme of our common humanity--in which, on the evidence, I don't think he believes.
    • 47 Metascore
    • 30 David Edelstein
    Sam Rockwell strips himself down to pure appetite and has a buoyant spirit. But the film sure doesn't. It's bizarrely flat--it has no affect.
    • 63 Metascore
    • 30 David Edelstein
    It would be a horrific story even if underplayed, but Eastwood shoots it like a horror movie.
    • 38 Metascore
    • 30 David Edelstein
    There are a bunch of other clunky immigrant subplots (the Jews get a comic one, the Turks a scary one), but it isn't until the massacre–cum–civics tutorial in the liquor store that Crossing Over crosses into the mythic realm of camp. What a waste. I still say it's better than "Crash," though.
    • 40 Metascore
    • 30 David Edelstein
    Klaatu is a dream role for the beautifully blank Reeves, since he doesn’t even have to pretend to emote.
    • 38 Metascore
    • 30 David Edelstein
    If the movie didn't pander so madly to the audience for "Sex and the City" and "Legally Blonde," it might have been a comedy touchstone instead of a cringeworthy footnote.
    • 39 Metascore
    • 30 David Edelstein
    It isn’t a train wreck--a train wreck would be memorable. What’s wrong is wrong by design.
    • 79 Metascore
    • 30 David Edelstein
    An affectless piece of moviemaking.
    • 33 Metascore
    • 30 David Edelstein
    It's another dumb vengeance picture -- "In the Bedroom" for meatheads.
    • 76 Metascore
    • 30 David Edelstein
    This is a rhythmless, stupefying work. A person with no discernible pulse ought not to be directing a movie about disco.
    • 45 Metascore
    • 30 David Edelstein
    I'm genuinely of two minds about the picture. I want to say it's subtle, but I also want to say it's heavy-handed. I want to say it's incisive, but I have too many problems with its psychological elisions to let it off the hook.
    • 56 Metascore
    • 30 David Edelstein
    The premise is admittedly a killer--fun to think about, fun to see realized, not so fun to see screwed up in the last half-hour.
    • 35 Metascore
    • 30 David Edelstein
    The filmmakers have separated themselves from all the emotions of filmmaking except anger.
    • 43 Metascore
    • 30 David Edelstein
    There's no dramatic trajectory here at all.
    • 55 Metascore
    • 30 David Edelstein
    It's a schlock melodrama dolled up in arty frontier vestments.
    • 51 Metascore
    • 30 David Edelstein
    The film that Nicholas Hytner has directed (from a screenplay by the playwright Wendy Wasserstein) is slick, sweet, and disastrously unmoving -- even people who live to cry at the movies will find themselves depressingly dry-eyed.
    • 43 Metascore
    • 30 David Edelstein
    A melodrama in which the clichés prove more lethal than the bullets.
    • 49 Metascore
    • 30 David Edelstein
    Much of K-Pax consists of Spacey grinning like Stevie Wonder behind sunglasses, -- taking dippy steps, and bobbing his head as if attached to an invisible Walkman.
    • 31 Metascore
    • 30 David Edelstein
    This mad prophet says it will die in a week.
    • 39 Metascore
    • 30 David Edelstein
    So sniggeringly one-sided that the picture has no tension.
    • 41 Metascore
    • 30 David Edelstein
    I found the movie cheap, muddled, and thoroughly devoid of insight.
    • 90 Metascore
    • 30 David Edelstein
    Excruciatingly bad...Probably if Redux hadn't been acclaimed as a newly minted masterpiece, I wouldn't have felt so compelled to blow raspberries.
    • 61 Metascore
    • 30 David Edelstein
    My real problem with Matchstick Men is that it didn't con me well enough: I saw every trick up its sleeve in the first 20 minutes. If everything had been what it seemed--now, that would have been a stunning twist.
    • 36 Metascore
    • 30 David Edelstein
    Bizarrely depressing.
    • 37 Metascore
    • 30 David Edelstein
    The Hong Kong vet director, Ronny Yu, did a bang-up job in 1998 with "Bride of Chucky," but he can't do much for this one except keep it moving, light it scarily, and pump that plasma.
    • 66 Metascore
    • 30 David Edelstein
    Schrader is like a reformed addict who isn't even honest enough to show what once gave him pleasure. He's the most dangerous kind of crusader. In Auto Focus, he makes you hate sex and movies equally.
    • 30 Metascore
    • 30 David Edelstein
    And you wait--and wait--for the magic of movies.
    • 66 Metascore
    • 30 David Edelstein
    Ends up leaving you starved for a single moment of unhyped emotion. You can barely see the characters for Luhrmann screaming.
    • 20 Metascore
    • 30 David Edelstein
    At least Kudrow won't get the blame for Marci X: What really sinks the movie is Wayans.
    • 36 Metascore
    • 30 David Edelstein
    Emminently skippable.
    • 68 Metascore
    • 30 David Edelstein
    The performances are so terrible that it's hard to know whether Cronenberg wants to signal that much of what we're seeing isn't "real" or he has just forgotten how to write for hemoglobular flesh vessels--i.e., human beings.
    • 53 Metascore
    • 30 David Edelstein
    I wonder if anything could have made this misfire work.
    • 71 Metascore
    • 30 David Edelstein
    This is a movie that sends you out shuddering, chuckling nervously, wanting to tell the people in line for the next show, "It's the feel-bad movie of the year!"
    • 58 Metascore
    • 30 David Edelstein
    The final illuminations (people have demons, a mind is a terrible thing to lose) are a poor return on nearly two hours of ear-buckling, eye-stabbing incoherence.
    • 51 Metascore
    • 30 David Edelstein
    Inexpressiveness is what separates the film from its models (chiefly Antonioni) and what makes it so exasperating.
    • 52 Metascore
    • 30 David Edelstein
    This is an extraordinary -- and unfathomable -- piece of whitewashing: a true snow job.
    • 61 Metascore
    • 30 David Edelstein
    At times the movie's crudeness has an eerie beauty, but the musical fantasies are a bewildering hash, and the protracted climax on death row is nearly unendurable.
    • 69 Metascore
    • 30 David Edelstein
    When a movie wrenches you with the deaths of children then leaves you with nothing to take home but your confusion, it can make you thirsty for the blood of directors.
    • 70 Metascore
    • 30 David Edelstein
    As usual with Penn, I don't completely buy the character, but I completely buy that he has brilliantly internalized SOMETHING. He goes to some weird psychological places, our Sean.
    • 74 Metascore
    • 30 David Edelstein
    Psychologically thin, artistically flabby, and symbolically opaque.
    • 62 Metascore
    • 30 David Edelstein
    As messy and flat-footed as its predecessor is nimble and shapely. It's an ugly, bloated, repetitive movie that builds to a punch line that should have come an hour earlier (at least).
    • 52 Metascore
    • 30 David Edelstein
    Lost Highway, David Lynch's first movie in five years, is a virtuoso symphony of bad vibes.
    • 35 Metascore
    • 30 David Edelstein
    It's a mystery how such a hodgepodge, at once incoherent and overfamiliar, could have come together on screen.
    • 68 Metascore
    • 30 David Edelstein
    A somnolent load of wank.
    • 66 Metascore
    • 30 David Edelstein
    The laborious title of an even more laborious Cockney action movie that some people think is the cat's pajamas crossbred with the bee's knees.
    • 46 Metascore
    • 30 David Edelstein
    King Arthur is profoundly stupid and inept, but it's an endless source of giggles once you realize that its historical revisionism has nothing to do with archeological discoveries and everything to do with the fact that no one at Disney would green-light an old-fashioned talky love triangle with a hero who dies and an adulterous heroine who ends up in a nunnery.
    • 59 Metascore
    • 30 David Edelstein
    It's like a memorial service with killer special effects.
    • 42 Metascore
    • 30 David Edelstein
    125 minutes is a long time to stare at a movie that's basically in bleached blue-and-white with occasional splotches of brick red. The palette reinforces the monotony of the storyline.
    • 44 Metascore
    • 30 David Edelstein
    The photography is excellent! the music is striking! the movie is a stinker!
    • 43 Metascore
    • 30 David Edelstein
    Monumentally unimaginative. Thumbs down!
    • 56 Metascore
    • 30 David Edelstein
    The whole movie is like that: showy stunts, explosions, over-the-top acting, fiesta colors, lurid angles, and a sense of nothing--nada--at stake.
    • 45 Metascore
    • 30 David Edelstein
    It's no wonder that Crowe can't generate any real feeling. The narrative is alien to him on every level. The ear-grating dialogue is a good indication that he didn't know what he was doing; he's usually pitch-perfect.
    • 36 Metascore
    • 30 David Edelstein
    It underscores the gruesome legacy of Saturday Night Live in American movies...They haven't liberated screen comedy, they've left it neutered--or, should I say, Spade.
    • 47 Metascore
    • 30 David Edelstein
    When it comes to weaving personal stories in and out of the special-effects set pieces, the director has the most colossal antitalent since Ed Wood Jr.
    • 33 Metascore
    • 30 David Edelstein
    I'm not sure if the movie's lack of momentum is the fault of the director, the screenwriter, or the star, Romano. But most likely, it represents the luckless convergence of three dismayingly low-watt talents.
    • 36 Metascore
    • 30 David Edelstein
    Michael Caton-Jones' pompous and coarsely stupid inflation of what remains a superior thriller, Fred Zinnemann's The Day of the Jackal (1973).
    • 27 Metascore
    • 30 David Edelstein
    The most depressing thing about Sex and the City 2 is that it seems to justify every nasty thing said and written about the series and first feature film.
    • 47 Metascore
    • 30 David Edelstein
    Boarding Gate was evidently made quickly and cheaply, and parts of it are fun. It’s too bad there’s no real viewer equivalent--that you can’t WATCH a film quickly and cheaply.
    • 64 Metascore
    • 30 David Edelstein
    The documentary has its roots in a monologue in which the "guest of Cindy Sherman" (what H-O's place-card read at a gala) stood up for his personhood and made himself the center of the story—only there's NO STORY, not even insight into what made this unlikely couple click. Remove the boldface names and there's no movie; that center does not hold.