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 Avengers
Lowest review score: 0 Arthur
Score distribution:
1,640 movie reviews
    • 79 Metascore
    • 90 David Edelstein
    A rollicking, comic-book Robin Hood plot and more furiously entertaining fight scenes than the ones in Ang Lee's solemn martial-arts art movie.
    • 81 Metascore
    • 90 David Edelstein
    Ends very abruptly, at a point where you're ready to hang out with it a while. I wanted it to go on and on, but that ending is right. It leaves you the way American movies almost never do: relaxed, receptive, and happy in the moment, not even caring if your train comes in.
    • 64 Metascore
    • 90 David Edelstein
    It's a rich, impressive comic-book fantasy -- easily the summer's best "blockbuster."
    • 88 Metascore
    • 90 David Edelstein
    It's the way Cuarón demonstrates how a simple teen comedy can suddenly blossom into a study of sexual mores, a Mexican political allegory, a song of lamentation -- and still be breezy and funny and sexy as hell.
    • 67 Metascore
    • 90 David Edelstein
    Rich, finely judged, gorgeously acted movie.
    • 68 Metascore
    • 90 David Edelstein
    Gallo’s movie is terrific, an original and disarming vision of a life that's all skids.
    • 83 Metascore
    • 90 David Edelstein
    Both a masterpiece and a holy hell: Watching it, you feel you're being punished for a crime you didn't commit. Which puts you, come to think of it, in the same frame of mind as those poor Magdalene girls.
    • 90 Metascore
    • 90 David Edelstein
    A monument to process -- to the minutiae of making art -- Topsy-Turvy leaves you upside down and breathless.
    • 90 Metascore
    • 90 David Edelstein
    What Steven Spielberg has accomplished in Saving Private Ryan is to make violence terrible again.
    • 78 Metascore
    • 90 David Edelstein
    Best in Show has an uproarious wild card in Fred Willard, who plays a hack commentator convinced that he's the most amusing fellow on television
    • 91 Metascore
    • 90 David Edelstein
    One of the most enthralling three hours you'll ever spend at the theater.
    • 79 Metascore
    • 90 David Edelstein
    The movie is riotously entertaining, and with a big heart, too.
    • 77 Metascore
    • 90 David Edelstein
    Anderson must have needed that bonkers third-hour climax because there was nowhere to go short of spontaneous combustion.
    • 72 Metascore
    • 90 David Edelstein
    It's a remarkable film--one to gnaw at you and keep you up at night.
    • 81 Metascore
    • 90 David Edelstein
    Master and Commander hooks you from its nifty opening salvo to its nifty closing punch line.
    • 49 Metascore
    • 90 David Edelstein
    A disgusting piece of work; I still can't believe how much I loved it.
    • 76 Metascore
    • 90 David Edelstein
    The miracle of the movie is the Bolger sisters, who are so direct and matter-of-fact that they hardly seem to be acting. But their simplicity is radiant.
    • 90 Metascore
    • 90 David Edelstein
    Riveting and so suggestive that you can't consume it passively: You have to brood on it.
    • 90 Metascore
    • 90 David Edelstein
    Crowe's world is an open ecosystem --transcendentally open. This movie is his boombox held aloft.
    • 93 Metascore
    • 90 David Edelstein
    My first viewing left me dazzled but slightly confused; a second deeply impressed; a third rhapsodic. I wish I hadn't needed to rediagram it in my head to turn it into the masterpiece it so obviously wants to be.
    • 89 Metascore
    • 90 David Edelstein
    This is the Bill Murray performance we've been waiting for: Saturday Night Live meets Chekhov.
    • 82 Metascore
    • 90 David Edelstein
    One of the most inspired cases of the medium embodying the message ever captured on celluloid.
    • 72 Metascore
    • 90 David Edelstein
    It's a magnificent achievement—holes, tatters, crudities, screw-ups, and all.
    • 75 Metascore
    • 90 David Edelstein
    I wasn't prepared for the slap-happy brilliance of Shrek 2, which should ideally be seen twice--once with kids, once savored at something like a midnight show.
    • 90 Metascore
    • 90 David Edelstein
    Of all the great vocal characterizations...the showstopper is Brooks, who hasn't had a part this good since "Lost in America" (1985). His Marlin is tender, cranky, hysterical, yet somehow lucid.
    • 73 Metascore
    • 90 David Edelstein
    This is finally the zombie flick as cautionary political tale, and as humanist parable. It's not the flesh-gouging zombie we have to worry about, the filmmakers suggest, but the soul-gouging zombie within.
    • 83 Metascore
    • 90 David Edelstein
    It's the tone of the picture that's most striking. This is nothing less than a superhero's lament--Spidey Agonistes, a comic-book spectacle in which the primary struggles are behind the mask.
    • 88 Metascore
    • 90 David Edelstein
    Pitch-perfect -- not just the most enjoyable movie of the year but the first (after Crumb) to get the tone of a certain strain of "underground" comic right.
    • 72 Metascore
    • 90 David Edelstein
    Guillermo del Toro is in a class with Peter Jackson as a fan-boy who gets it--a brilliant filmmaker who has a kind of metabolic connection to horror and sci-fi that helps him transform secondhand genre material into something deep and nourishing. Del Toro reaches into himself and finds the Wagnerian grandeur in schlock.
    • 90 Metascore
    • 90 David Edelstein
    For all its wizardry, The Incredibles isn't among my favorite animated movies. Weirdly enough, I think of it, instead, as one of my favorite live-action superhero pictures.

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