David Edelstein
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For 1,600 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 3.7 points higher than other critics. (0-100 point scale)

David Edelstein's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Life of Pi
Lowest review score: 0 Domino
Score distribution:
1,600 movie reviews
    • 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.
    • 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.
    • 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.
    • 55 Metascore
    • 30 David Edelstein
    It's a schlock melodrama dolled up in arty frontier vestments.
    • 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!"
    • 41 Metascore
    • 30 David Edelstein
    I found the movie cheap, muddled, and thoroughly devoid of insight.
    • 36 Metascore
    • 30 David Edelstein
    Emminently skippable.
    • 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.
    • 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.
    • 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.
    • 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.
    • 44 Metascore
    • 30 David Edelstein
    The photography is excellent! the music is striking! the movie is a stinker!
    • 29 Metascore
    • 30 David Edelstein
    The first 45 minutes or so is stupefying--flat, disjointed, missing all human connective tissue.
    • 51 Metascore
    • 30 David Edelstein
    Inexpressiveness is what separates the film from its models (chiefly Antonioni) and what makes it so exasperating.
    • 53 Metascore
    • 30 David Edelstein
    I wonder if anything could have made this misfire work.
    • 52 Metascore
    • 30 David Edelstein
    Lost Highway, David Lynch's first movie in five years, is a virtuoso symphony of bad vibes.
    • 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.
    • 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).
    • 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.
    • 36 Metascore
    • 20 David Edelstein
    There's only one surgery scene, but it's the heart (and kidneys) of Turistas. The rest -- especially the incoherent action -- falls well below the mark set by the last Americans Abroad torture-porn picture, "Hostel."
    • 38 Metascore
    • 20 David Edelstein
    In a vile-movie competition between Michael Haneke’s "Funny Games" and Vadim Perelman’s The Life Before Her Eyes, Haneke’s film would win--but only because he’s working so much harder to be noxious.
    • 37 Metascore
    • 20 David Edelstein
    Orgy, hell: The film is like a nightmare in which you're trapped in an arcade with screens on all sides and no eyelids. Based on an elemental but happily streamlined Japanese cartoon (an anime precursor), it's an eyesore, a shambles, with incoherent action and ear-buckling dialogue.
    • 34 Metascore
    • 20 David Edelstein
    You really have to screw it up to dishonor the memory of a movie as shitty as the original "Friday the 13th." Heads should roll.
    • 53 Metascore
    • 20 David Edelstein
    Ridley Scott’s Robin Hood is a pompous, interminable hash.
    • 50 Metascore
    • 20 David Edelstein
    He (Perry) has taken Shange's landmark poem cycle for seven African-American actresses, cut it up, and sewn its bloody entrails into a tawdry, masochistic soap opera that exponentially ups the "Precious" ante.
    • 46 Metascore
    • 20 David Edelstein
    Dr. Seuss's The Lorax [sic] isn't Seussian in spirit. It's shrill and campy and stuffed with superfluous characters.
    • 53 Metascore
    • 20 David Edelstein
    Sinister did something I thought would be impossible: It made this lifelong horror freak abhor horror movies.
    • 28 Metascore
    • 20 David Edelstein
    A Good Day to Die Hard is the opposite of a labor of love. It has no good lines, no crackerjack fights, and only one mildly orgasmic revenge killing. It will satisfy no one — high-, low-, or middlebrow. Die Hard is finally in its death throes.
    • 37 Metascore
    • 20 David Edelstein
    Appalling in ways that you could never have anticipated. The movie mixes mismatched-buddy high jinks with scenes of carnage.
    • 41 Metascore
    • 20 David Edelstein
    The carnage (with its computer-­generated splatter) is meant to be campy fun, but it’s so offhand that there’s less suspense than in an Austin Powers movie.
    • 46 Metascore
    • 20 David Edelstein
    Profoundly unnecessary -- cluttered, padded even at 90 minutes, indifferently narrated by Anthony Hopkins, and consistently misdirected by Ron Howard.
    • 53 Metascore
    • 20 David Edelstein
    He (Annaud) doesn't have a clue how to dramatize the romance. Fiennes, whose eyes are extremely close together, stares with a mixture of rage and longing at Weisz, whose eyes are extremely far apart, and the film turns into "The Dating Game" designed by Picasso.
    • 47 Metascore
    • 20 David Edelstein
    The movie is one dead, overcomposed scene after another.
    • 57 Metascore
    • 20 David Edelstein
    Material so utterly conventional that you can predict every plot turn after the first half-hour.
    • 40 Metascore
    • 20 David Edelstein
    Yeah, they made a ton of junky movies in Hong Kong, but those were dazzlingly fluid and high-flying junky movies. This American retread has the same sort of hack plot but none of the bravura. It makes them look like monkeys, and not bulletproof ones.
    • 25 Metascore
    • 20 David Edelstein
    The script plays goofy games, stopping the action for Tarantino-style small talk; piling on alternate, "Rashomon"-style flashbacks; and divulging its characters' secrets in no particular order.
    • 59 Metascore
    • 20 David Edelstein
    Hordes of good actors evidently lined up to appear in Confidence, which wastes Weisz, Guzman, Logue, Forster, and Paul Giamatti, among others. Midway through, a grizzled Andy Garcia shambles in, chewing on a cigar, as an FBI agent; he's so fatuously hammy that his true narrative function is never in doubt.
    • 38 Metascore
    • 20 David Edelstein
    The movie is a big, noisy mess, with a howler at its center: Overrouged psychiatrist Michael Douglas.
    • 36 Metascore
    • 20 David Edelstein
    I wouldn't exactly call it entertainment; I found myself wanting to apologize on behalf of obnoxious heterosexual Jewish men the world over.
    • 38 Metascore
    • 20 David Edelstein
    DiVito turns actors like Robin Williams, Edward Norton, and Catherine Keener into nothing less horrific than giant Danny DeVitos.
    • 50 Metascore
    • 20 David Edelstein
    One of the least entertaining satires ever made.
    • 45 Metascore
    • 20 David Edelstein
    A riot of sleazy camera moves, bad acting, and maladroit profane dialogue.
    • 51 Metascore
    • 20 David Edelstein
    George Lucas does it his way in the pallid Phantom Menace. Even cultists will wish he'd hired a director and some writers.
    • 41 Metascore
    • 20 David Edelstein
    Let's just say that in spite of its malignant sun-scorched palette, absurdist visions, and narrative loop the loops, the picture looks in hindsight like the same old vigilante crap.
    • 31 Metascore
    • 20 David Edelstein
    Libel on one of the true visionaries of American business in the 20th century, a man unfairly demonized for doing what others strove to do but doing it faster and better.
    • 64 Metascore
    • 20 David Edelstein
    The movie is barely sufferable.
    • 56 Metascore
    • 20 David Edelstein
    I had a hard time maintaining interest in (let along liking) any of these self-involved Hollywood twerps, and scene after scene is a grating mixture of self-aggrandizement and masochism.
    • 40 Metascore
    • 20 David Edelstein
    Serves up some of the most gruesomely misogynistic imagery in years, then ends with a bid for understanding. Are its makers so deluded that they think they're making the world a more compassionate place?
    • 25 Metascore
    • 20 David Edelstein
    Linda Hunt's spooky nun speaks of "a hundred levels of consciousness" between death and full, earthbound awareness: Where on that continuum do the executives who green-lighted Dragonfly reside?
    • 51 Metascore
    • 20 David Edelstein
    The 12 scenes of Irreversible--each shot in a single, semi-improvised take--constitute something of a tour de force. But so would being dragged through the streets by a wire noose.
    • 18 Metascore
    • 20 David Edelstein
    The movie is bafflingly boring and ridiculous. Its loginess is exacerbated by the pacing of the writer-director, Martin Brest.
    • 47 Metascore
    • 20 David Edelstein
    This is a two-hour-and-six-minute snuff movie -- The Jesus Chainsaw Massacre -- that thinks it's an act of faith.
    • 26 Metascore
    • 20 David Edelstein
    Kaufman proves again how miraculously in synch with his material he can be. Directing a fourth-rate, maladroit, derivative mystery, he becomes a fourth-rate, maladroit, derivative director--worse even than a TV-movie hack.
    • 33 Metascore
    • 20 David Edelstein
    A sickeningly manipulative, by-the-numbers revenge movie.
    • 35 Metascore
    • 20 David Edelstein
    You have to feel for the army of talented FX people who must have spent months on scenes--trying to compensate, with their artistry, for the lack of dramatic logic--and having to listen to those lines over and over.
    • 52 Metascore
    • 20 David Edelstein
    Con Air is boring to the marrow.
    • 58 Metascore
    • 20 David Edelstein
    George Clooney is all by himself among living leading men in making smarm pass triumphantly for charm. But the movie lacks momentum, clarity, a decent payoff, and a location with the personality of Vegas.
    • 86 Metascore
    • 20 David Edelstein
    It's impressive, in the sense that a sucker-punch impresses itself on your skull.
    • 40 Metascore
    • 20 David Edelstein
    Made for the most excruciating two-and-a-half hours I've ever spent in a theater.
    • 34 Metascore
    • 20 David Edelstein
    It used to be that Midler was a life force, but whenever she tries to play one, she looks like she's floating in formaldehyde.
    • 52 Metascore
    • 20 David Edelstein
    It may or may not be the worst movie ever made, but it is one of the most unhinged.
    • 54 Metascore
    • 20 David Edelstein
    The only surprise about U-Turn is the good reviews it got from people who should know better.
    • 48 Metascore
    • 20 David Edelstein
    What was already a raucous put-on, a goof on Aldrich's brutal action movies, is now a hyperbolic, gross-out cartoon, with a cast of enormous ex-football stars (plus the 7-foot-2-inch Indian wrestler Dalip Singh) only adding to the air of facetiousness.
    • 52 Metascore
    • 20 David Edelstein
    There are no real people in The Producers --only actors laboring to dispel whatever magic they once were thought to possess. The director, Susan Stroman, has brought the Broadway smash to the screen (where it began, almost 40 years ago) with cataclysmic results.
    • 45 Metascore
    • 10 David Edelstein
    Again and again the killers linger sadistically over the dead or dying bodies of the people they've dispatched. Did Carnahan think these sickening scenes would give Smokin' Aces a moral complexity that's generally absent from this genre? I think they make the picture seem even more morally bankrupt.
    • 18 Metascore
    • 10 David Edelstein
    Even if the film were well done, it would still be a travesty.
    • 24 Metascore
    • 10 David Edelstein
    Apollo 18, isn't egregiously inept. It just never lives. It's 80 minutes of dead air.
    • 30 Metascore
    • 10 David Edelstein
    It’s actually worse than the 1981 Franco Zeffirelli–Brooke Shields version — which is worse than being waterboarded but at least bears some resemblance to the book and its brilliantly addled ‘70s vibe.
    • 35 Metascore
    • 10 David Edelstein
    Unfathomably awful.
    • 70 Metascore
    • 10 David Edelstein
    I found it so oppressively smug that I had to get up and pace the aisles three or four times, and I'd have bolted if I hadn't been duty bound to stick it out.
    • 12 Metascore
    • 10 David Edelstein
    There's something reassuring about the fact that The Avengers is so rotten: proof yet again that people with piles of money can hire wizard production designers but can't fake class.
    • 36 Metascore
    • 10 David Edelstein
    Probably the most horrifying stuff I've seen all week.
    • 24 Metascore
    • 10 David Edelstein
    This is another of those post-Saturday Night Live vehicles in which ineptitude and laziness are supposed to be taken as irony: It's not bad, it's "bad." Actually, it's "terrible":
    • 24 Metascore
    • 10 David Edelstein
    Turns into a moronic, psycho-on-the-loose picture pretty quickly.
    • 59 Metascore
    • 10 David Edelstein
    I'm at a loss to account for how OFF this film is -- how a movie can seem so conscientiously earnest yet so creepily exploitive. It's like a Christmas stocking over a crematory.
    • 32 Metascore
    • 10 David Edelstein
    A buddy cop movie that pretends to spoof buddy cop movies along with reality TV shows, Showtime is so lazy and artless that … that … it saps my will to come up with a good quip: Witless in itself, it is the source of witlessness in others.
    • 19 Metascore
    • 10 David Edelstein
    Like being run over by a garbage truck that backs up and dumps its load on top of you. It's a sloppy and vulgar burlesque, one of the most repulsive kiddie movies ever made.
    • 59 Metascore
    • 10 David Edelstein
    The politics of Dogville are on par with a third-rate gangster picture: cheap, opportunistic nihilism, with no enlivening sense of humor.
    • 24 Metascore
    • 10 David Edelstein
    Turns into a pea-brained hodgepodge of "The Omen" (1976), "The Sixth Sense" (1999), and about 30 Grade-Z Bela Lugosi mad-scientist movies.
    • 55 Metascore
    • 10 David Edelstein
    Russell is a manically inventive writer-director--maybe the most fearless talent of his generation. It's not a contradiction to say that I admire him more than ever while pronouncing Huckabees an unmitigated disaster.
    • 15 Metascore
    • 10 David Edelstein
    Lordy, what a stinker.
    • 33 Metascore
    • 0 David Edelstein
    The movie stinks to heaven.
    • 36 Metascore
    • 0 David Edelstein
    In Arthur, the spectacularly grating remake of Steve Gordon's 1981 P. G. Wodehouse simulation (this time, Peter Baynham miswrote, Jason Winer misdirected), Russell Brand gives a career-killing performance.
    • 17 Metascore
    • 0 David Edelstein
    The movie is a reductio ad absurdum, a sick joke taken to extremes, beginning with a goof on the notion that horror movies inspire copycats and ending with a test to determine whether some people will watch anything.
    • 18 Metascore
    • 0 David Edelstein
    It's rare to see a piece of sh** that actually looks and sounds like a piece of sh**. It's kind of exciting!
    • 44 Metascore
    • 0 David Edelstein
    Haneke’s assault on our fantasy lives is shallow, unimaginative, and glacially unengaged--a sucker punch without the redeeming passion of punk.
    • 37 Metascore
    • 0 David Edelstein
    In my own world, Only God Forgives plays somewhat differently. I thought it was just about the worst f---ing thing I’ve ever seen. In fact, I was depressed it wasn’t laughed off the screen.
    • 49 Metascore
    • 0 David Edelstein
    If it isn't the worst sequel ever made, it's only because it has too much competition: Impersonal and frenetic, it's a landmark Hollywood disgrace.
    • 9 Metascore
    • 0 David Edelstein
    A picture that will be hailed without controversy as the worst of its kind ever made.
    • 34 Metascore
    • 0 David Edelstein
    It all adds up to one of the most brazen pieces of blame-shifting in exploitation-picture history.
    • 59 Metascore
    • 0 David Edelstein
    Benigni's movie made me want to throw up.
    • 13 Metascore
    • 0 David Edelstein
    The most appalling comedy of the millennium after "Joe Dirt," which is so supernaturally terrible that it levitated me out of the theater after 40 minutes.
    • 33 Metascore
    • 0 David Edelstein
    I'd like to tell you about the remake of The Amityville Horror (MGM), but I ankled after less than five minutes. It was something about the little girl holding the stuffed animal getting blown away with a shotgun at point-blank range.
    • 36 Metascore
    • 0 David Edelstein
    Domino seemed to me the end of the world for movies--a glimpse of a future so excruciating that I'd prefer to take my chances with Hitchcock's eye-gouging avians.