David Edelstein
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For 1,660 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 3.9 points higher than other critics. (0-100 point scale)

David Edelstein's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 A Hard Day's Night (re-release)
Lowest review score: 0 Funny Games (2008)
Score distribution:
1,660 movie reviews
    • 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
    In Mysteries of Lisbon, the prolific Chilean-born director and egghead Raúl Ruiz has achieved something remarkable, at once avant-garde and middlebrow: the apotheosis of the soap opera.
    • 54 Metascore
    • 90 David Edelstein
    Observe and Report is the rare "action-comedy" (almost always a muddled hybrid) that earns its cathartic climax. The blood is real because the psychosis is real. But somehow--the magic of comedy--it's also uproarious.
    • 79 Metascore
    • 90 David Edelstein
    The movie is riotously entertaining, and with a big heart, too.
    • 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.
    • 88 Metascore
    • 90 David Edelstein
    It becomes a meditation on the dual nature of film, on a "reality" at once true and false, essential and tainted.
    • 91 Metascore
    • 90 David Edelstein
    The brilliance of Gett: The Trial of Viviane Amsalem is that, without a shift in tone, the film begins to seem like a tragedy populated by clowns, its males clinging to ancient laws to compensate for feebleness of character.
    • 78 Metascore
    • 90 David Edelstein
    I found it exquisite. In part I responded out of sheer amazement: I've never seen anything like the sequences in which Sandler, in his boxy, sea-blue suit, charges around his warehouse to the rhythm of Brion's harsh drums.
    • 73 Metascore
    • 90 David Edelstein
    This isn't just the most riotously inventive movie of the year, it's the raunch anthem of the age.
    • 78 Metascore
    • 90 David Edelstein
    The film is lyrical, expansive, unbearably beautiful.
    • 88 Metascore
    • 90 David Edelstein
    The movie goes on for three hours without an emotional letup — it’s finally overwhelming.
    • 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.
    • 64 Metascore
    • 90 David Edelstein
    It's a rich, impressive comic-book fantasy -- easily the summer's best "blockbuster."
    • 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.
    • 77 Metascore
    • 90 David Edelstein
    It’s richer than anything onscreen right now. It’s worth the pain.
    • 85 Metascore
    • 90 David Edelstein
    The film is a nearly unrelenting nightmare. Even interviews shot with the survivors after the fact have a current of dread.
    • 91 Metascore
    • 90 David Edelstein
    One of the most enthralling three hours you'll ever spend at the theater.
    • 69 Metascore
    • 90 David Edelstein
    There isn't a banal moment in Winslet's performance--not a gesture, not a word. Is Winslet now the best English-speaking film actress of her generation? I think so.
    • 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.
    • 79 Metascore
    • 90 David Edelstein
    Beat by beat, scene by scene, gorgeous...at times emotionally devastating.
    • 82 Metascore
    • 90 David Edelstein
    This Pride & Prejudice (ampersand and all) a joy to behold.
    • 82 Metascore
    • 90 David Edelstein
    For all its slickness, School of Rock has a let's-put-on-a-show quality that touches you in the most direct way a movie can. It's as if the filmmakers had said, "I'd like to teach the world to kick butt--in perfect harmony."
    • 71 Metascore
    • 90 David Edelstein
    Outrageously entertaining.
    • 91 Metascore
    • 90 David Edelstein
    So Polley has gone meta — exuberantly, entertainingly, with all her heart.
    • 76 Metascore
    • 90 David Edelstein
    This movie is utterly irresistible.
    • 88 Metascore
    • 90 David Edelstein
    Pure and universal.
    • 89 Metascore
    • 90 David Edelstein
    The Best of Youth doesn't have a boring millisecond. It isn't an art film, with longueurs; it's a mini-series with the sweep of a classic novel, with tons of plot.
    • 83 Metascore
    • 90 David Edelstein
    The most enthralling movie of the year.
    • 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.
    • 80 Metascore
    • 90 David Edelstein
    The movie becomes a nail-biter, the audience hanging on every letter. Who could have anticipated that a spelling competition would yield such a heartbreaking thriller?

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