David Edelstein
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For 1,641 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 Gravity
Lowest review score: 0 Men in Black II
Score distribution:
1,641 movie reviews
    • 74 Metascore
    • 80 David Edelstein
    Sicko is Moore’s best film: a documentary that mixes outrage, hope, and gonzo stunts in the right proportions; that poses profound questions about the connection between health care and work.
    • 89 Metascore
    • 80 David Edelstein
    A meticulous, thoroughly engrossing lesson in how not to win friends (or wars) and influence people (or potential terrorists).
    • 71 Metascore
    • 80 David Edelstein
    Kohn’s gripping Manda Bala is the opposite of a high-school science doc. It’s a free-form portrait of a place--Brazil--with scary running motifs: kidnapping, mutilation, plastic surgery, bulletproofing, and frog farming.
    • 65 Metascore
    • 80 David Edelstein
    The first two thirds and change of I Am Legend is terrific mindless fun: crackerjack action with gnashing vampires barely glimpsed (and scarier for that) and how’d-they-do-that New York locations that retroactively justify the traffic jams.
    • 61 Metascore
    • 80 David Edelstein
    The Afghan boys’ kite-flying contests are the emotional core of the film, and Forster and his crew bring the camera into the sky and make it dip and soar along with the kites. It’s a thrilling spectacle, although it’s also tinged with a peculiarly emasculating aggression.
    • 82 Metascore
    • 80 David Edelstein
    It’s the equal of "No End in Sight" in its tight focus on the nuts and bolts of incompetence, and it surpasses any recent melodrama in the empathy it evokes for both its victims and--surprisingly--victimizers.
    • 80 Metascore
    • 80 David Edelstein
    The Band’s Visit resounds with tenderness and melancholy.
    • 83 Metascore
    • 80 David Edelstein
    Bahrani’s concentration is close to supernatural as he tracks the young, prepubescent Ale (Alejandro Polanco) from job to soul-numbing job, some legal, some extralegal, to the point where you’re forced to suspend altogether your moral judgments and watch with a mixture of pain and awe.
    • 65 Metascore
    • 80 David Edelstein
    In Married Life, Ira Sachs aims a bit lower than Green but obliterates his target: The funny, the scary, the campy, the sad--they’re all splendidly of a piece.
    • 65 Metascore
    • 80 David Edelstein
    Battle for Haditha has some of the raw energy of Sam Fuller's war pictures, which weren't subtle but left you energized by their ambivalence (there was no good or evil). It's a hell of a picture.
    • 54 Metascore
    • 80 David Edelstein
    Director Dennis Dugan knows his way around shin-whacking slapstick, and Sandler is mesmerizing.
    • 69 Metascore
    • 80 David Edelstein
    This one is alive with discoveries--of locations, characters, the actors who embody them, and even the medium. In The Go-Getter, filmmaking itself feels like Manifest Destiny.
    • 52 Metascore
    • 80 David Edelstein
    The first two thirds are gangbusters, with marauding bands of tarted-up young witches who look only slightly less scary than Lindsay Lohan and her pals on an average night.
    • 84 Metascore
    • 80 David Edelstein
    My Winnipeg is overloaded and digressive--it comes with the territory--but it's also grounded in a place, Maddin's Manitoban hometown, and it's painfully engrossing.
    • 62 Metascore
    • 80 David Edelstein
    Morton is one of those tingly actresses whose skin barely covers her soul, and to watch her search for tender mercies in a crazy-hostile world is a gift. The film is appallingly good.
    • 73 Metascore
    • 80 David Edelstein
    A tender, even-tempered elegy to a writer who at his peak could ingest staggering (literally) amounts of drugs and alcohol and transform, like Popeye after a can of spinach, into a superhuman version of himself--more trenchant, more cutting, more hilarious than any political journalist before or since.
    • 89 Metascore
    • 80 David Edelstein
    The most miraculous thing about Man on Wire is not the physical feat itself, 1,350 feet above the ground, but that as you watch it, the era gone, the World Trade Center gone, the movie feels as if it's in the present tense. That nutty existentialist acrobat pulled it off. For an instant, he froze time.
    • 79 Metascore
    • 80 David Edelstein
    Brown explores a potentially enraging subject--rigidly upheld racial segregation in the country's oldest Mardi Gras celebration, in Mobile, Alabama--but her touch is so unforced and her gaze so open that no one is bruised.
    • 70 Metascore
    • 80 David Edelstein
    Ought to have been an eye-roller. What a surprise that it's so seductive. The Woodman lives!
    • 67 Metascore
    • 80 David Edelstein
    As Bolt, John Travolta is inspired: His voice still cracks like an adolescent’s, and he has the perfect dopey innocence.
    • 83 Metascore
    • 80 David Edelstein
    You can't make this stuff up. You can, however, capture it on film for all time. Trouble the Water is ineradicably moving.
    • 79 Metascore
    • 80 David Edelstein
    Moving Midway is thrilling.
    • 62 Metascore
    • 80 David Edelstein
    An uncommonly well-crafted historical feminist tearjerker--both anti-patriarchal and a monument to motherhood.
    • 84 Metascore
    • 80 David Edelstein
    Leigh has been giving actors their tongues for decades, and of all his films, Happy-Go-Lucky is the easiest, the least labored.
    • 79 Metascore
    • 80 David Edelstein
    Philippe Claudel's direction is both probing and delicate, and Scott Thomas's face, even immobile, keeps you watching, searching for hints of her character's past, unable to blink for fear of missing something vital.
    • 82 Metascore
    • 80 David Edelstein
    It's a genuine genre vampire picture; and it's Swedish, winter-lit, Bergmanesque.
    • 58 Metascore
    • 80 David Edelstein
    The result, however clichéd, is spectacularly unnerving: hair-trigger horror.
    • 70 Metascore
    • 80 David Edelstein
    I Love You, Man is totally formulaic, but the formula is unnervingly (and hilariously) inside out.
    • 74 Metascore
    • 80 David Edelstein
    Although Paltrow is radiant (and she nails the character’s ditzy sense of entitlement), it's Phoenix's movie. He is, once again, stupendous, and stupendous in a way he has never been before.
    • 81 Metascore
    • 80 David Edelstein
    It is filmed with simplicity, a purity of intent, and I wanted to watch the faces of these men in their last seconds of life--not for the sake of history, but because of Wajda's imperative to put his father's death onscreen. He needed to do this. And somehow, sanity is restored.

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