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 House of Flying Daggers
Lowest review score: 0 Movie 43
Score distribution:
1,682 movie reviews
    • 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.
    • 76 Metascore
    • 90 David Edelstein
    The Kidman in Rabbit Hole is a revelation.
    • 72 Metascore
    • 90 David Edelstein
    This is a dazzling movie, yet some people (not kids, but maybe their parents) will be put off by its Grand Guignol ghoulishness.
    • 80 Metascore
    • 90 David Edelstein
    Troell’s entrancingly beautiful Everlasting Moments uses surfaces--light, texture, faces--to hint at another world, a shadow realm.
    • 90 Metascore
    • 90 David Edelstein
    Crowe's world is an open ecosystem --transcendentally open. This movie is his boombox held aloft.
    • 86 Metascore
    • 90 David Edelstein
    This is Kent’s first feature — an astonishing debut. Not perfect, though.
    • 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.
    • 81 Metascore
    • 90 David Edelstein
    Arnold's first feature, "Red Road" (2006), centers on another outsider, a woman who monitors security cameras. The film is formally brilliant, but it doesn't have the breathtaking openness of Fish Tank.
    • 81 Metascore
    • 90 David Edelstein
    This is one of the most galvanizing documentaries I've ever seen.
    • 79 Metascore
    • 90 David Edelstein
    The ending is madly unsatisfying--yet dead perfect. This is a remarkable film.
    • 83 Metascore
    • 90 David Edelstein
    Endlessly enchanting.
    • 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.
    • 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.
    • 88 Metascore
    • 90 David Edelstein
    As he proved in his Iraq-centered "No End in Sight," policy wonk turned documentarian Charles Ferguson has no peer when it comes to tracking the course of a preventable catastrophe.
    • 49 Metascore
    • 90 David Edelstein
    A disgusting piece of work; I still can't believe how much I loved it.
    • 66 Metascore
    • 90 David Edelstein
    You could never call Solondz a humanist, but he achieves something I've never seen elsewhere: compassionate revulsion.
    • 75 Metascore
    • 90 David Edelstein
    I confess I don't fully understand Danny's (or the movie's) zigs and zags, but I was glued to the thing anyway -- it has an inexplicable inner logic -- and I admire Bean for refusing to settle into any easy groove.
    • 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
    • 80 Metascore
    • 90 David Edelstein
    Árpád Halász is the credited “animal trainer for 280 dogs,” Teresa Ann Miller the handler of Bodie and Luke — better actors than half this year’s Academy Award nominees. This is the new gold standard for nature-bites-back movies.
    • 75 Metascore
    • 90 David Edelstein
    It's irresistible, damn it. Mainstream comedies should all be this funny and tender and deftly performed.
    • 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.
    • 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
    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.
    • 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.
    • 73 Metascore
    • 90 David Edelstein
    This is an absolutely miraculous movie.
    • 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.
    • 85 Metascore
    • 90 David Edelstein
    The Edge of Heaven is powerfully unsettled--it comes together by not coming together.
    • 65 Metascore
    • 90 David Edelstein
    The ensemble is stupendous--howlingly great--and the music goes deep.
    • 83 Metascore
    • 90 David Edelstein
    Very entertaining (and doesn’t overstay its welcome) but it’s a little depressing to contemplate.

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