David Edelstein
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For 1,640 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 The Cove
Lowest review score: 0 The Human Centipede II (Full Sequence)
Score distribution:
1,640 movie reviews
    • 95 Metascore
    • 90 David Edelstein
    What makes it so good is that no one is bad. These humans, desperate to do right, are caught up in a perfect storm of inhumanity. The evil is in the ecosystem.
    • 90 Metascore
    • 90 David Edelstein
    In totalitarian societies, artists have found all sorts of ways - some brilliantly imaginative - to disguise their political protest, but Panahi has no subterfuges left. This Is Not a Film ends with a whimper that is a bang. He must be freed.
    • 66 Metascore
    • 90 David Edelstein
    You could never call Solondz a humanist, but he achieves something I've never seen elsewhere: compassionate revulsion.
    • 76 Metascore
    • 90 David Edelstein
    No actor is as brilliant, or as cunning, as Denzel Washington at portraying superhuman coolness and the scary prospect of its loss.
    • 86 Metascore
    • 90 David Edelstein
    Lincoln is too sharply focused to deserve the pejorative "biopic" label. It's splendid enough to make me wish Spielberg would make a "prequel" to this instead of another Indiana Jones picture.
    • 91 Metascore
    • 90 David Edelstein
    So Polley has gone meta — exuberantly, entertainingly, with all her heart.
    • 78 Metascore
    • 90 David Edelstein
    The movie’s singular acting triumph is Nathan Fillion’s Constable Dogberry, one of Shakespeare’s simpler buffoons made poetic by understatement. Fillion speaks softly, with ­uninflected sincerity, a brilliant departure from the standard gregarious-­hambone Dogberry. It’s his insularity — his imperviousness to the interjections of more observant people — that makes him such a touchingly credible clown.
    • 70 Metascore
    • 90 David Edelstein
    Downey found a way to channel his working-class audience’s anger against liberal shibboleths and not incidentally take down both his dad and his surrogate dad — Teddy ­Kennedy. It’s a ­riveting Oedipal tragedy.
    • 66 Metascore
    • 90 David Edelstein
    The movie is gorgeous, mesmerizing, poetic; the lyricism actually heightened by harsh jets of gore.
    • 89 Metascore
    • 90 David Edelstein
    The resulting film is bizarre to the point of ­trippiness, yet it’s one of the most lucid portraits of evil I’ve ever seen.
    • 86 Metascore
    • 90 David Edelstein
    Hot-dog Hong Kong action stylist Johnnie To has never achieved the cult status of John Woo in this country, but his explosively entertaining — and startlingly splattery — Drug War should win him new fans.
    • 87 Metascore
    • 90 David Edelstein
    In his late seventies, Robert Redford has never held the camera as magnificently as he does in the survival-at-sea thriller All Is Lost.
    • 88 Metascore
    • 90 David Edelstein
    The movie goes on for three hours without an emotional letup — it’s finally overwhelming.
    • 86 Metascore
    • 90 David Edelstein
    The movie is a triumph of an especially satisfying kind. It arrives at a kind of gnarled grace that’s true to this sorry old man and the family he let down in so many ways.
    • 92 Metascore
    • 90 David Edelstein
    Joel and Ethan Coen’s Inside Llewyn Davis is an exquisitely crafted tale of woe with heartfelt early-sixties folk music — and an overarching snottiness.
    • 90 Metascore
    • 90 David Edelstein
    Her
    In Her, Jonze transforms his music-video aesthetic into something magically personal. The montages — silent, flickering inserts of Theodore and his ex-wife recollected in tranquility — are sublime.
    • 75 Metascore
    • 90 David Edelstein
    With her swanlike neck and ever-flushing complexion, Felicity Jones has a perfect nineteenth-century look, but there’s something forward and modern about her physiognomy, her huge eyes and strong nose and overbite. As she gazes down in enforced modesty, you feel her soul about to burst. The performance is startlingly vivid.
    • 88 Metascore
    • 90 David Edelstein
    Wes Anderson’s latest cinematic styling is The Grand Budapest Hotel, an exquisitely calibrated, deadpan-comic miniature that expands in the mind and becomes richer and more tragic.
    • 79 Metascore
    • 90 David Edelstein
    Do I detect a note of self-satire in Jarmusch’s undead? I’d like to think he’s poking fun at his own stylized, white-boy cool. But underneath, of course, he’s deadly serious. A ruined metropolis, a snatch of dialogue about coming water wars, a poisoned blood supply: The garden of Adam and Eve is despoiled beyond remedy. This is a charming dirge, though.
    • 81 Metascore
    • 90 David Edelstein
    I’m not crying “masterpiece” here. Locke is too contained, too well-carpentered, too self-consciously “classical.” But tours don’t come much more forceful. Once you’ve taken this 90-odd-minute drive with Tom Hardy, you’ll never forget his face.
    • 77 Metascore
    • 90 David Edelstein
    It’s richer than anything onscreen right now. It’s worth the pain.
    • 67 Metascore
    • 90 David Edelstein
    Gregory and Demme have turned A Master Builder into (pardon my invoking the name of a Strindberg work) a dream play, and have made it once more madly, bitingly, chillingly alive.
    • 81 Metascore
    • 90 David Edelstein
    Starred Up is an edgy, teeming thriller, brilliantly disorienting, making strange a world we thought we knew, at least from other movies.
    • 88 Metascore
    • 90 David Edelstein
    In sum, Last Days is the best kind of documentary — it ties you up in knots.
    • 78 Metascore
    • 90 David Edelstein
    In the end, the point of this ridiculous, arduous, oft-interrupted odyssey turns out to be elusive — and is all the richer for it.
    • 79 Metascore
    • 90 David Edelstein
    The movie is phenomenally gripping—although it does leave you queasy, uncertain what to take away on the subject of men, women, marriage, and the possibility of intimacy from the example of such prodigiously messed-up people.
    • 79 Metascore
    • 90 David Edelstein
    What a cast Pride has — some of the best famous actors in Britain and lesser-known younger ones that will (soon) take their place in the firmament.
    • 88 Metascore
    • 90 David Edelstein
    As a go-for-it music movie, Whiplash is just about peerless. The fear is contagious, but so is the jazz vibe: When Andrew snatches up his sticks and the band launches into a standard—say, Hank Levy’s “Whiplash”—it’s hard not to smile, judder, and sway.
    • 87 Metascore
    • 90 David Edelstein
    This is Kent’s first feature — an astonishing debut. Not perfect, though.
    • 42 Metascore
    • 90 David Edelstein
    A grave screwball comedy. Its gags aren't just hilarious -- they have a weighty, plaintive soul.

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