David Edelstein

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For 1,905 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 2.1 points higher than other critics. (0-100 point scale)

David Edelstein's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Marjorie Prime
Lowest review score: 0 Domino
Score distribution:
1905 movie reviews
    • 96 Metascore
    • 100 David Edelstein
    The movie is as cornball as all get-out and — once you discern the narrative arc — as predictable. But then there’s the part that’s — as we serious cinephiles like to say — infuckingcredible.
    • 90 Metascore
    • 100 David Edelstein
    The movie is a slot machine that never stops spitting quarters.
    • 100 Metascore
    • 100 David Edelstein
    Living with Mason and his parents over time you feel an intimacy, an empathy, a shared stake. I’m not saying Boyhood is the greatest film I’ve ever seen, but I’m thinking there’s my life before I saw it and my life now, and it’s different; I know movies can do something that just last week I didn’t. They can make time visible.
    • 94 Metascore
    • 100 David Edelstein
    Perhaps the most awesome thing in Mr. Turner is how Leigh and cinematographer Dick Pope hint at Turner’s paintings in their landscapes — not to make the film look painterly but to suggest what Turner saw before transmuting reality into art.
    • 89 Metascore
    • 100 David Edelstein
    It’s sensational in the open air and subtle in smaller, enclosed spaces. It has sweep and intimacy. And, yes, we need this movie now.
    • 87 Metascore
    • 100 David Edelstein
    It’s breezy, then suspenseful, and gradually, crushingly sad. On its own terms, it’s a perfect film.
    • 94 Metascore
    • 100 David Edelstein
    This teeming, tear-duct-draining, exhaustingly inventive, surreal animated comedy is going to be a new pop-culture touchstone. In all kinds of ways it’s a mind-opener.
    • 87 Metascore
    • 100 David Edelstein
    Stevan Riley’s Listen to Me Marlon is the greatest, most searching documentary of an actor ever put on film, and it’s no coincidence that it’s about film’s greatest and most searching actor.
    • 82 Metascore
    • 100 David Edelstein
    At times the movie’s small canvas feels momentous. They’ve found the inner tensions in people’s presentations of themselves in a way that’s positively Wallace-like.
    • 72 Metascore
    • 100 David Edelstein
    Straight Outta Compton is among the most potent rags-to-riches showbiz movies ever made.
    • 77 Metascore
    • 100 David Edelstein
    Meru is a packed 90 minutes. And I guess it is inspiring, in the sense that if human beings can endure this kind of risk and punishment, they could colonize Mars or breed a super-race to carry our species to the ends of the galaxy. All the familiar critical adjectives (harrowing, etc.) sound especially lame in this context. The movie is sick.
    • 86 Metascore
    • 100 David Edelstein
    Room is astonishing: It transmutes a lurid, true-crime situation into a fairy tale in which fairy tales are a source of survival.
    • 84 Metascore
    • 100 David Edelstein
    Anderson says that as a child she dreamed of making something that had never been made before, and, with the help of some gifted artists and editors and camera-people, she has done it again — with bells on. The only thing that would make it more pleasurable would be Anderson narrating it in person.
    • 93 Metascore
    • 100 David Edelstein
    This tight, relatively low-key, step-by-step procedural has a stronger impact than any horror movie.
    • 81 Metascore
    • 100 David Edelstein
    The best film of the year? Possibly …
    • 77 Metascore
    • 100 David Edelstein
    Bitches, it’s always a good month in America for an antigun movie. The newest, Spike Lee’s Chi-Raq, might be the best ever. It’s sexy, brash, and potent — a powerful weapon in its own right.
    • 83 Metascore
    • 100 David Edelstein
    It’s funny and inspiring and harsh and depressing. It’s steeped in existential dread. I don’t know how Birbiglia pulled it off, but he gets the minutiae of an improv-comedy show thrillingly right while using the form to build a kind of allegory of the corrosive effects of capitalism.
    • 78 Metascore
    • 100 David Edelstein
    Schamus is the former head of Focus Features, and seeing how he directs (this is his debut, though he has been Ang Lee’s collaborator for decades), I suspect he chose the company’s name. His vision is 20/20 plus.
    • 88 Metascore
    • 100 David Edelstein
    This is the kind of Western in which we know there will be blood but pray there won’t be, because the violence is bound to be gratuitous, absurd, with a needless finality. Hell or High Water is a rare humanist Western: Finality is the true villain.
    • 92 Metascore
    • 100 David Edelstein
    I love when non-fiction filmmakers stretch the form and attempt, with as much honesty as they can muster, to put us in the middle of the events they describe. They give us stunning hybrids like "Waltz With Bashir," "Persepolis," and, now, Tower.
    • 99 Metascore
    • 100 David Edelstein
    Hype would bruise Barry Jenkins’s Moonlight, which is so delicate in its touch that the usual superlatives sound unusually shrill. It’s the gentlest, most suggestive of great films.
    • 93 Metascore
    • 100 David Edelstein
    The actors carry the music in their gait, their gestures, the rhythms of their speech, so that their singing and dancing is a small but exquisite step up from the way that they normally talk and walk. To rhapsodize about La La Land is to complete the experience. You want to sing its praises, literally.
    • 90 Metascore
    • 100 David Edelstein
    It’s mesmerizing, too vivid to be evanescent, too precious to hold.
    • 86 Metascore
    • 100 David Edelstein
    As he proves yet again in his thrillingly syncopated heist movie Baby Driver, the 43-year-old U.K.-born Edgar Wright is just about the perfect 21st-century genre director. He has a fanboy’s scintillating palette — flesh-eating zombies, righteous vigilante cops, stoic bank robbers in sunglasses — without a fanboy’s lack of peripheral vision.
    • 83 Metascore
    • 100 David Edelstein
    The sci-fi chamber drama Marjorie Prime is exquisite — beautiful, intense, shivering with empathy.
    • 81 Metascore
    • 100 David Edelstein
    This is an amazing movie.
    • 85 Metascore
    • 100 David Edelstein
    The best American movie of the year. Has a subtext so powerful that it reaches out and pulls you under. Even when the surface is tranquil, you know in your guts what's at stake.
    • 82 Metascore
    • 100 David Edelstein
    Isn't just the most explosively entertaining movie musical in a couple of decades. It's going to be the most influential: the one that inspires the rebirth of the Hollywood musical.
    • 75 Metascore
    • 100 David Edelstein
    An unassuming gem: an impishly funny, melancholy, absolutely delightful English ensemble drama.
    • 83 Metascore
    • 100 David Edelstein
    American satire rarely comes more winning than Election, an exuberantly caustic comedy that shows the symbiotic relationship between political go-get-'em-ism and moral backsliding.

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