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 3.6 points higher than other critics. (0-100 point scale)

David Edelstein's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Blackfish
Lowest review score: 0 Life Is Beautiful
Score distribution:
1,682 movie reviews
    • 74 Metascore
    • 90 David Edelstein
    The film is phenomenally well directed by Kevin Macdonald and edited by Justine Wright to bring out every bit of scary volatility in the most casual interactions.
    • 89 Metascore
    • 90 David Edelstein
    Ulrich Mühe gives a marvelously self-contained performance. There isn't an ounce of fat on his body, or in his acting: He has pared himself down to a pair of eyes that prowl the faces of his character's countrymen for signs of arrogance--i.e., of independent thinking.
    • 82 Metascore
    • 90 David Edelstein
    Indigènes is a stupendous work--and why that new title stinks to heaven.
    • 73 Metascore
    • 90 David Edelstein
    Anyone who loves live-wire acting will gasp in awe at Blanchett, more emotionally exposed than ever, and, most of all, at Dame Judi, who’s so electric she makes you quiver.
    • 77 Metascore
    • 90 David Edelstein
    It's a Parisian romantic roundelay with sundry couples connecting and disconnecting, but it looks and sounds like no sex comedy ever made: It's transcendentally yummy.
    • 64 Metascore
    • 90 David Edelstein
    I’ve sat through so many claustrophobic examples of the genre I forgot how exhilarating, how pure a great one could be. Interview is a great one--electric as theater and cinema.
    • 83 Metascore
    • 90 David Edelstein
    Very entertaining (and doesn’t overstay its welcome) but it’s a little depressing to contemplate.
    • 84 Metascore
    • 90 David Edelstein
    I came out giddy, feeling lighter--by about five-sixths--than I did when I went in.
    • 83 Metascore
    • 90 David Edelstein
    Lake of Fire centers on abortion, but Kaye understands that while dead fetuses are the hook, the agenda covers the whole life cycle.
    • 84 Metascore
    • 90 David Edelstein
    His (Sidney Lumet) touch in Before the Devil is so sure, so perfectly weighted, that it’s hard to imagine him capable of making a bad movie. The thing is just enthralling.
    • 75 Metascore
    • 90 David Edelstein
    A brilliant study in the link between moral corruption and narcissism.
    • 91 Metascore
    • 90 David Edelstein
    It’s a near masterpiece.
    • 85 Metascore
    • 90 David Edelstein
    The Savages is a delightful movie--the perfect companion piece (and antidote) to the year’s other superb convalescent-dementia picture, "Away From Her."
    • 90 Metascore
    • 90 David Edelstein
    Satrapi’s parents ship her off to a French school in Vienna, but she’s rudderless, ungrounded. She’s drawn back to a devastated Tehran, where she can’t design a life, either. This great film, by Satrapi and Vincent Paronnaud, is that life, designed. It freed her mind; it frees ours.
    • 83 Metascore
    • 90 David Edelstein
    Burton, bless him, constricts the space and concentrates the melodrama; he finds the perfect balance between the funereal and the ferocious. Above all, he treasures these ghouls: He digs both their bloodlust and their melancholy.
    • 64 Metascore
    • 90 David Edelstein
    We’ve never sat through anything with Cloverfield’s subjective sting. You’d have to be tougher than I was not to be blown sideways by it.
    • 97 Metascore
    • 90 David Edelstein
    The coup de grâce is especially graceless because everything we know is already visible in Marinca’s eyes. The actress is extraordinary.
    • 83 Metascore
    • 90 David Edelstein
    Paranoid Park is a supernaturally perfect fusion of Van Sant’s current conceptual-art-project head-trip aesthetic and Blake Nelson’s finely tuned first-person “young adult” novel.
    • 86 Metascore
    • 90 David Edelstein
    In The Flight of the Red Balloon, the great Taiwanese filmmaker Hou Hsiao Hsien uses Albert Lamorisse’s 1956 masterpiece "The Red Balloon" as a springboard for his own masterpiece--a distinctively modern and allusive one, yet so tender and plaintive that you understand what Hou is up to on a preconscious level.
    • 79 Metascore
    • 90 David Edelstein
    Loyal assistant, Pepper Potts, isn't much of a part, but Gwyneth Paltrow is a presence. She stands around looking amused and flabbergastingly pretty, slinging wisecracks with serene aplomb.
    • 85 Metascore
    • 90 David Edelstein
    The Edge of Heaven is powerfully unsettled--it comes together by not coming together.
    • 64 Metascore
    • 90 David Edelstein
    It takes about an hour after it's over for the heart to slow, the brain to recalibrate, and the nonsensicalness of the thing to sink in.
    • 81 Metascore
    • 90 David Edelstein
    Chris & Don is the rarest of documentaries: a realistic portrait of the human spirit.
    • 78 Metascore
    • 90 David Edelstein
    It was splendid! No, it’s not a larky kid-pic. We're firmly in the realm of English horror.
    • 82 Metascore
    • 90 David Edelstein
    Among the most enraging (documentaries) I've ever seen, and while it's fine and heartfelt and I commend it to those of you with strong constitutions, it is the film that has finally broken me.
    • 86 Metascore
    • 90 David Edelstein
    The whole thing is irresistibly preposterous.
    • 84 Metascore
    • 90 David Edelstein
    Is A Christmas Tale a masterpiece? Maybe. I have to play with it longer. It's certainly Desplechin's most accessible film, in part because its dysfunctional-family-holiday-reunion genre is so comfy and its palette so warm.
    • 78 Metascore
    • 90 David Edelstein
    The film is lyrical, expansive, unbearably beautiful.
    • 65 Metascore
    • 90 David Edelstein
    The ensemble is stupendous--howlingly great--and the music goes deep.
    • 82 Metascore
    • 90 David Edelstein
    The movie is a political remake of "The Passion of the Christ," only more aestheticized: It's rigorous, evocative, and, in spite of its grisly imagery, elegant. It's a triumph--of masochistic literal-mindedness.

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