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 In the Bedroom
Lowest review score: 0 Funny Games (2008)
Score distribution:
1,682 movie reviews
    • 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."
    • 65 Metascore
    • 80 David Edelstein
    James Scurlock's documentary Maxed Out, tells the bone-chilling, bloodcurdling, hair-raising story of a country (guess which one?) that's up to its eyeballs in credit-card debt.
    • 82 Metascore
    • 80 David Edelstein
    That title would suit a melodrama with an emphasis on doomed love, which is not what Loach has crafted. There is a (chaste) love story and plenty of bloodletting. But what engages him and his screenwriter, Paul Laverty, is the growing tension between brother Irish rebels.
    • 85 Metascore
    • 80 David Edelstein
    As the political rhetoric between Washington and Tehran becomes dangerously overheated, Offside offers an intimate antidote: an affectionate glimpse into the cultural schisms that young Tehranis face every day. Western audiences will cheer the rebellious girls on.
    • 64 Metascore
    • 80 David Edelstein
    I'm looking forward to buying Blades of Glory on DVD so I can get my head around the phenomenal skating routines. Obviously, there were wires and lifts and computer-generated effects, but for my money it looked like the lumbering Ferrell and nerdy Heder were Olympic-worthy stylists.
    • 73 Metascore
    • 80 David Edelstein
    Frank's writing is razor-sharp, his filmmaking whistle-clean. As a fan of sharp razors and clean whistles, I enjoyed The Lookout--yet I did feel let down by the climax, which ought to have been blunter and messier and crazier and more cathartic.
    • 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.
    • 77 Metascore
    • 80 David Edelstein
    The fun is in the one-thing-after-another delirium the movie induces, and in our breathless anticipation of what they'll hurl at us next.
    • 62 Metascore
    • 80 David Edelstein
    One way you know that D.J. Caruso is a resourceful director is that he scares you silly with a minimum of violence and a few smears of blood. His job was certainly made easier by Morse, whose glassy demeanor and high, soft rasp suggests horrors that not even Quentin Tarantino could imagine.
    • 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.
    • 78 Metascore
    • 80 David Edelstein
    Blistering and nihilistic--a vision to reduce you to a puddle of despair.
    • 61 Metascore
    • 80 David Edelstein
    The film is, in fact, a cunning exercise in subjectivity and withheld information--and once you accept those parameters, it’s riveting.

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