David Edelstein
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For 1,682 reviews, this critic has graded:
  • 47% higher than the average critic
  • 2% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 3.7 points higher than other critics. (0-100 point scale)

David Edelstein's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Harry Potter and the Order of the Phoenix
Lowest review score: 0 Battlefield Earth: A Saga of the Year 3000
Score distribution:
1,682 movie reviews
    • 58 Metascore
    • 80 David Edelstein
    Computer-generated animated movies with wall-to-wall jokes can be excruciating, but these jokes are the funniest money can buy.
    • 62 Metascore
    • 80 David Edelstein
    Bug
    Has the feverish compression of live theater and the moody expansiveness of film. The mix is insanely powerful.
    • 74 Metascore
    • 80 David Edelstein
    The greatness of Golden Door is its tone; sympathetic but always wry.
    • 85 Metascore
    • 80 David Edelstein
    Knocked Up feels very NOW. The banter is bruisingly funny, the characters BRILLIANTLY childish, the portrait of our culture's narrowing gap between children and their elders hysterical--in all senses.
    • 62 Metascore
    • 80 David Edelstein
    It's so money! It's so fun!
    • 69 Metascore
    • 80 David Edelstein
    It takes some time to realize we're in a maelstrom--going down down down into a saga of obsession, sadism, masochism, and codependency that was and remains one of the great, sick tabloid stories of all time.
    • 70 Metascore
    • 80 David Edelstein
    It's madly funny--a treat for moviegoers who don't mind gnawed-off limbs with their high jinks.
    • 80 Metascore
    • 80 David Edelstein
    I found the first half-hour a snooze, but once I adjusted to the movie's rhythms, I was completely enraptured. Ferran weaves the love affair into nature, but not in the mystical, sanctified manner of Ang Lee's "Brokeback Mountain."
    • 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.

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