David Edelstein

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For 1,748 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: 64
Highest review score: 100 The Big Short
Lowest review score: 0 Arthur
Score distribution:
1748 movie reviews
    • 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.
    • 75 Metascore
    • 90 David Edelstein
    Gorgeously silly.
    • 84 Metascore
    • 90 David Edelstein
    A big, overlong, and rather unwieldy piece of storytelling, but the story it has to tell is so vital that it cuts through all the dramaturgical muddiness. It's a terrific muckraking melodrama--it will get people fuming.
    • 89 Metascore
    • 90 David Edelstein
    Mad Max: Fury Road is certainly a blast and a half: You don’t just watch it, you rock out to it.
    • 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.
    • 85 Metascore
    • 90 David Edelstein
    If I didn't believe that the experience of watching Domestic Violence would change the world for the better, I wouldn't believe in the power of movies. And I wouldn't do what I do.
    • 62 Metascore
    • 90 David Edelstein
    Mike Myers is like a rich 12-year-old who rents out F.A.O. Schwartz, upends every toy in under two hours, and brings in strippers. He can get away with this privileged romp because he grooves on what he does in a way that none of his contemporaries -- can comprehend.
    • 90 Metascore
    • 90 David Edelstein
    What Steven Spielberg has accomplished in Saving Private Ryan is to make violence terrible again.
    • 67 Metascore
    • 90 David Edelstein
    Please don’t bore me by complaining that the characters are “unlikable.” The defense admits that the movie is indefensible. Just breathe in the aroma of decay and howl like a banshee.
    • 69 Metascore
    • 90 David Edelstein
    A hilarious, poignant, lovingly ironic celebration of (Tammy Faye Bakker's) rise and fall and her refusal to be broken.
    • 81 Metascore
    • 90 David Edelstein
    A spectacular three-hankie tragic love story--sometimes dumb and often clunky and always pretty cornball, but just about irresistible.
    • 88 Metascore
    • 90 David Edelstein
    It's like an Ingmar Bergman film with the loss of religious faith replaced with a sort of socioeconomic nebulousness.
    • 91 Metascore
    • 90 David Edelstein
    It’s a near masterpiece.
    • 70 Metascore
    • 90 David Edelstein
    Went down like a slice of warm pecan pie topped with two scoops of Ben and Jerry's Bovinity Divinity.
    • 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.
    • 90 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.

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