David Edelstein
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For 1,593 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 3.7 points higher than other critics. (0-100 point scale)

David Edelstein's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Igby Goes Down
Lowest review score: 0 The Amityville Horror
Score distribution:
1,593 movie reviews
    • 79 Metascore
    • 90 David Edelstein
    Remarkable.
    • 73 Metascore
    • 90 David Edelstein
    It's the human struggle that makes this a sci-fi masterpiece.
    • 75 Metascore
    • 90 David Edelstein
    Audiard's take is fevered, immediate, and hopeful--a story of a man recovering his soul. The most intense and compelling sections of The Beat are almost word for word from "Fingers" (albeit translated into French), but this beat changes everything.
    • 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
    It's hugely entertaining, it's spectacularly acted, and it pricks you in all kinds of places. Maybe the best thing is to see it and let it bug you, too.
    • 79 Metascore
    • 90 David Edelstein
    The ending is madly unsatisfying--yet dead perfect. This is a remarkable film.
    • 82 Metascore
    • 90 David Edelstein
    Is Fiennes miscast? Perhaps. He's a high-strung, somewhat clammy actor--not the first to spring to mind for this warmly self-effacing plodder. But he's remarkably fine.
    • 82 Metascore
    • 90 David Edelstein
    Face/Off is such a blast that at times I forgot I was watching a John Woo movie.
    • 83 Metascore
    • 90 David Edelstein
    The movie is so Burtonesque that it verges on self-parody--but it's fun and stunningly beautiful anyway.
    • 88 Metascore
    • 90 David Edelstein
    Hoffman goes beyond the surface mannerisms and diction. He disappears into Capote.
    • 82 Metascore
    • 90 David Edelstein
    This Pride & Prejudice (ampersand and all) a joy to behold.
    • 75 Metascore
    • 90 David Edelstein
    An entertaining, emotional, and surprisingly intimate movie--an epic saga of fauns and talking (Cockney) beavers and evil sorceresses and triumphal resurrections and massive, sweeping battles that nonetheless feels … small.
    • 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.
    • 84 Metascore
    • 80 David Edelstein
    Against a radiant backdrop of decay and rebirth, nothing needs to be said; everything in this lovely film is crystalline.
    • 86 Metascore
    • 80 David Edelstein
    The movie works smashingly, especially if you haven't seen its Hong Kong counterpart and haven't a clue what's coming. But for all its snap, crackle, and pop, it's nowhere near as galvanic emotionally.
    • 79 Metascore
    • 80 David Edelstein
    A wrenching elegy to the "greatest generation"--a film with enough breadth and spectacle and poetry to transcend some clunky storytelling.
    • 77 Metascore
    • 80 David Edelstein
    What a mind-bending odyssey ensues--a tale of good old-fashioned American free expression at war with good old-fashioned American capitalism.
    • 84 Metascore
    • 80 David Edelstein
    Before it loses its fizz--maybe two thirds of the way through--Volver offers the headiest pleasures imaginable.
    • 81 Metascore
    • 80 David Edelstein
    This Bond is haunted, not yet housebroken, still figuring out the persona. In Casino Royale, the reset button has been pressed in the manner of "Batman Begins."
    • 68 Metascore
    • 80 David Edelstein
    Gooses you even in its barren patches and gets fresher and funnier as it goes along. It builds to a shriekingly funny (and scary) revelation and a dénouement so brilliant it's almost demonic.
    • 74 Metascore
    • 80 David Edelstein
    The movie is brilliant and infectious, much like Bennett's voice: English-deadpan but never snide, and generous to a fault.
    • 64 Metascore
    • 80 David Edelstein
    Given that the movie doesn't have a single narrative surprise--you always know where it's going and why, commercially speaking, it's going there--it's amazing how good Blood Diamond is. I guess that's the surprise.
    • 68 Metascore
    • 80 David Edelstein
    Apocalypto turns into the best "Rambo" movie ever made. The worrisome part is that Gibson doesn't think he's making a boneheaded action picture. For him, torture and vengeance are the way of the world. This is Gibsonian metaphysics.
    • 89 Metascore
    • 80 David Edelstein
    For my money, Flags (however clunky) cuts more deeply, but Letters is more difficult to shake off. Together, they leave you with the feeling that even a just and necessary war is an abomination.
    • 84 Metascore
    • 80 David Edelstein
    Children of Men is a bouillabaisse of up-to-the-minute terrors. It's a wow, though.
    • 98 Metascore
    • 80 David Edelstein
    His palette here is deep-toned, with bottomless blacks and supersaturated oranges and blues--as if the Walt Disney of "Pinocchio" had collaborated with Goya.
    • 74 Metascore
    • 80 David Edelstein
    I was utterly gripped by The Italian. The only problem is that I was rooting for the bad guys.
    • 88 Metascore
    • 80 David Edelstein
    That's the beauty of Mafioso: that what begins as a comedy of disconnection becomes a tragicomedy of connection -- of roots that go deep and branches that span continents.
    • 73 Metascore
    • 80 David Edelstein
    It's one of the best kinds of documentaries--not calculated but serendipitous.
    • 85 Metascore
    • 80 David Edelstein
    The Host packs a lot into its two tumultuous hours: lyrically disgusting special effects, hair-raising chases, outlandish political satire, and best of all, a dysfunctional-family psychodrama--an odyssey that's like a grisly reworking of "Little Miss Sunshine."