David Edelstein
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For 1,661 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:
1,661 movie reviews
    • 69 Metascore
    • 80 David Edelstein
    It takes some time to realize we're in a maelstrom--going down down down into a saga of obsession, sadism, masochism, and codependency that was and remains one of the great, sick tabloid stories of all time.
    • 65 Metascore
    • 80 David Edelstein
    Battle for Haditha has some of the raw energy of Sam Fuller's war pictures, which weren't subtle but left you energized by their ambivalence (there was no good or evil). It's a hell of a picture.
    • 72 Metascore
    • 80 David Edelstein
    As Nash gets closer to Crowe's own age (and level of dissipation), the performance settles down and becomes first credible and then overwhelming. This is a stupendous piece of acting.
    • 83 Metascore
    • 80 David Edelstein
    Bahrani’s concentration is close to supernatural as he tracks the young, prepubescent Ale (Alejandro Polanco) from job to soul-numbing job, some legal, some extralegal, to the point where you’re forced to suspend altogether your moral judgments and watch with a mixture of pain and awe.
    • 74 Metascore
    • 80 David Edelstein
    It's a crackerjack ride, shot and edited for maximum discombobulation.
    • 64 Metascore
    • 80 David Edelstein
    The script by Steve Faber and Bob Fisher is one of those high-speed, ping-pong-banter marvels in which you're still laughing from the last great line when you're hit by the next.
    • 81 Metascore
    • 80 David Edelstein
    It is filmed with simplicity, a purity of intent, and I wanted to watch the faces of these men in their last seconds of life--not for the sake of history, but because of Wajda's imperative to put his father's death onscreen. He needed to do this. And somehow, sanity is restored.
    • 67 Metascore
    • 80 David Edelstein
    Think "In the Mood for Love" with hookahs instead of chopsticks.
    • 84 Metascore
    • 80 David Edelstein
    For all its missteps, Mystic River gets the big things right: It turns you inside out with grief, and it builds to an act of vigilante murder that is nearly impossible to endure.
    • 70 Metascore
    • 80 David Edelstein
    If nothing else, Training Day is a gorgeous pedestal for Denzel Washington.
    • 78 Metascore
    • 80 David Edelstein
    Blistering and nihilistic--a vision to reduce you to a puddle of despair.
    • 70 Metascore
    • 80 David Edelstein
    It's madly funny--a treat for moviegoers who don't mind gnawed-off limbs with their high jinks.
    • 81 Metascore
    • 80 David Edelstein
    It's an unusually funny, literate, worked-out script, and Mendes seems hell-bent on making the best Bond since "Goldfinger" - or the best, period, given that he exhumes Bond's old Aston Martin only to shoot it cheekily to pieces.
    • 60 Metascore
    • 80 David Edelstein
    The camera moves with heightened sensitivity, as if on currents of emotion, and Kendrick is infinitely winning. She’s that rare thing, a movie star with a trained soprano.
    • 71 Metascore
    • 80 David Edelstein
    Manito is the rare little movie that gets bigger as it goes along--so big that it can hardly contain its own emotion.
    • 51 Metascore
    • 80 David Edelstein
    Most of all, I enjoyed the picture's subtext, which is that Smith has become so sensitized to Internet abuse -- that the cathartic climax consists of tracking down bellicose posters (all of whom turn out to be adolescent dweebs) and pummeling the crap out of them.
    • 72 Metascore
    • 80 David Edelstein
    There is a special kind of pleasure in hearing jokes that have no redeeming social value. I'd like to think that this IS their social value-an invitation to free the mind.
    • 72 Metascore
    • 80 David Edelstein
    The Kill Team, an essential film no matter what your political convictions. The setting is Afghanistan, but it might be Iraq or Vietnam or anywhere with occupying forces. It might be Gaza. This map of hell is timeless, placeless.
    • 75 Metascore
    • 80 David Edelstein
    Clement and Waititi are intimate with the conventions of vampire movies and reality TV and must have had a crazy-great time blending the unblendable in the best SCTV tradition. But it’s the absence of camp that I keep coming back to. They scale it down and play it real. They’re undeadpan.
    • 79 Metascore
    • 80 David Edelstein
    This is lovely, momentous piffle.
    • 65 Metascore
    • 80 David Edelstein
    A fascinatingly strange and chaotic ballet set to familiar noir motifs.
    • 77 Metascore
    • 80 David Edelstein
    This world is ravishingly beautiful, but there’s also something oppressive about its exoticism. The color doesn’t just saturate the frame; it thickens it.
    • 69 Metascore
    • 80 David Edelstein
    The Unknown Known is a worthy addition to Morris’s body of work, an epic search that demonstrates the limits of language, the ease of sidestepping truth.
    • 80 Metascore
    • 80 David Edelstein
    There's nothing like a film about wayward passions to remind you how differently people feel things.
    • 68 Metascore
    • 80 David Edelstein
    For all the movie's pixilated transitions, fisticuffs, and hyper-alert climaxes at the roulette table, there's a kind of temperamental evenness that's perfectly in sync with the protagonist.
    • 71 Metascore
    • 80 David Edelstein
    I urge you not to pass up Black Book, especially on a wide screen. It's a marvelous movie-movie, with a new screen goddess. Van Houten has a soft, heart-shaped face on top of a body so naturally, ripely beautiful it has its own kind of truth.
    • 65 Metascore
    • 80 David Edelstein
    In Married Life, Ira Sachs aims a bit lower than Green but obliterates his target: The funny, the scary, the campy, the sad--they’re all splendidly of a piece.
    • 82 Metascore
    • 80 David Edelstein
    I think this tale of woe can principally be seen as a plea for a heightened sense of community. It takes a village to keep us all afloat.
    • 70 Metascore
    • 80 David Edelstein
    A pungently funny and heartfelt piece of wish fulfillment.
    • 66 Metascore
    • 80 David Edelstein
    It’s Moss who takes the film to a higher, scarier level. After years of playing Peggy Olson on "Mad Men", she knows how to smile and nod and say one thing while obviously meaning the exact opposite, and when at last she unleashes the truth, it’s with demonic intensity. She turns subtext into horror-poetry.

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