David Edelstein
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For 1,606 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 Zero Dark Thirty
Lowest review score: 0 The Amityville Horror
Score distribution:
1,606 movie reviews
    • 82 Metascore
    • 80 David Edelstein
    It's a genuine genre vampire picture; and it's Swedish, winter-lit, Bergmanesque.
    • 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.
    • 84 Metascore
    • 80 David Edelstein
    Children of Men is a bouillabaisse of up-to-the-minute terrors. It's a wow, though.
    • 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
    The most miraculous thing about Man on Wire is not the physical feat itself, 1,350 feet above the ground, but that as you watch it, the era gone, the World Trade Center gone, the movie feels as if it's in the present tense. That nutty existentialist acrobat pulled it off. For an instant, he froze time.
    • 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.
    • 85 Metascore
    • 80 David Edelstein
    Knocked Up feels very NOW. The banter is bruisingly funny, the characters BRILLIANTLY childish, the portrait of our culture's narrowing gap between children and their elders hysterical--in all senses.
    • 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.
    • 70 Metascore
    • 80 David Edelstein
    I Love You, Man is totally formulaic, but the formula is unnervingly (and hilariously) inside out.
    • 78 Metascore
    • 80 David Edelstein
    Blistering and nihilistic--a vision to reduce you to a puddle of despair.
    • 74 Metascore
    • 80 David Edelstein
    Although Paltrow is radiant (and she nails the character’s ditzy sense of entitlement), it's Phoenix's movie. He is, once again, stupendous, and stupendous in a way he has never been before.
    • 88 Metascore
    • 80 David Edelstein
    Away From Her is a twilight-of-life love story, one that harshly demolishes our romantic notions of love and loyalty, then replaces them with something deeper and, finally, more consoling.
    • 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."
    • 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."
    • 74 Metascore
    • 80 David Edelstein
    Lynn Shelton's marvelous chamber comedy Humpday butts up against the same sort of taboos as "Brüno," and in its fumbling, semi-improvised way, it’s equally hilarious and even more subversive.