David Edelstein

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For 1,969 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 1.9 points higher than other critics. (0-100 point scale)

David Edelstein's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Wildlife
Lowest review score: 0 Movie 43
Score distribution:
1969 movie reviews
    • 47 Metascore
    • 70 David Edelstein
    Pellington and Perry can be accused of over-enunciating their ideas, but any film flooded with this level of emotion is worthy of our respect — and our tears.
    • 72 Metascore
    • 80 David Edelstein
    The Party is breathlessly well shot — and, even better, in lustrous black and white. The look conveys an unspoken message: Even playing fools, these actors are pure class.
    • 75 Metascore
    • 80 David Edelstein
    One word springs to mind after 15 minutes of Loveless: Getmethef**koutofhere. The chill eats into you — the cold burns and cuts. But it turns out Zvyagintsev has more on his mind than emotional cruelty to kids.
    • 45 Metascore
    • 70 David Edelstein
    Clint Eastwood’s The 15:17 to Paris celebrates old-fashioned American heroism, and I like it — in spite of its dumbbell infelicities.
    • 62 Metascore
    • 70 David Edelstein
    The final scenes are wrenching. The final shot is happy and sad and strange and awful and very hopeful. As I said, it depends on your vantage.
    • 87 Metascore
    • 80 David Edelstein
    Loveless is about a state of mind, a lament, an indictment of crimes against the human spirit.
    • 88 Metascore
    • 90 David Edelstein
    Unusually grounded for a Marvel superhero epic, and unusually gripping.
    • 37 Metascore
    • 50 David Edelstein
    Things speed up too quickly, meaning just when the movie’s rhythms should become loopier and the action more eccentric, The Cloverfield Paradox becomes one more formulaic ticking-clock series of chases and shootings with a moral dilemma for pathos and then uplift.
    • 49 Metascore
    • 60 David Edelstein
    Please Stand By is thoughtful in how it dramatizes the consequences of autism. The movie is a little stiff, though.
    • 69 Metascore
    • 80 David Edelstein
    In Beirut, Hamm still doesn’t have the outsize personality we associate with major movie stars — a lot of whom are lesser actors. But he has focus. He can think onscreen. He can make you watch him closely, trying to keep up with the wheels churning in his head. I think he has fully arrived on the big screen.
    • 55 Metascore
    • 70 David Edelstein
    It’s not particularly illuminating, but it’s far from futile.
    • 70 Metascore
    • 80 David Edelstein
    What makes Phoenix’s performance especially exciting is that you’re watching not just a character go from chaos to self-possession but an actor, too.
    • 54 Metascore
    • 50 David Edelstein
    The movie, based on the terrific book Horse Soldiers by Doug Stanton, is only so-so, but it moves at a fair clip and fills in a lot of details about the early successes of the Afghanistan war.
    • 67 Metascore
    • 70 David Edelstein
    The movie is barely an hour and a half but feels dense, and exhausting, as Barker skips among three protagonists who are up against a ticking clock.
    • 72 Metascore
    • 60 David Edelstein
    Part of the film is a crackerjack courtroom drama. What’s dull is the trajectory. The Insult is so schematic that it shrinks to the level of a painfully scrupulous newspaper editorial. Which is fine — for a newspaper editorial.
    • 35 Metascore
    • 30 David Edelstein
    Dimly lit and slackly made.
    • 57 Metascore
    • 80 David Edelstein
    The arty but suspenseful drama The Strange Ones is a perfect demonstration of how the craft of storytelling is also the craft of withholding — of revealing as little as possible in carefully parceled-out amounts.
    • 58 Metascore
    • 70 David Edelstein
    The movie has amusingly broad performances; good, bloodless scares (the characters die horribly — but have multiple lives); and self-empowering life lessons too bland to be specious. You could do far worse.
    • 65 Metascore
    • 50 David Edelstein
    Film Stars Don’t Die in Liverpool isn’t visually drab, only conceptually. As a critic who often complains about biopics diverging too radically from the facts, I’m chagrined to find myself wishing the filmmakers had taken more liberties with Turner’s brief memoir.
    • 64 Metascore
    • 70 David Edelstein
    Thanks to chillingly spare storytelling, Kruger’s momentous performance, and a score by Josh Homme (the front man of Queens of the Stone Age) that features a sort of screechy clang that gave me shivers, In the Fade is gripping. But it’s hard to know what to take away from it.
    • 72 Metascore
    • 70 David Edelstein
    It’s a real transformation. I’ve never heard this diction from her (Michelle Williams) before — sharp, with a hint of North Shore (i.e., old money) Long Island and perhaps a Kennedy or two. (The real Gail grew up in San Francisco but was well acquainted with the cadences of the East Coast rich.) Through the tension in her body and intensity of her voice, Williams conveys not just the terror of losing a son but the tragic absurdity of bearing the illustrious name Getty when family ties confer zero power.
    • 85 Metascore
    • 90 David Edelstein
    The new Star Wars, Episode VIII: The Last Jedi is shockingly good.
    • 74 Metascore
    • 80 David Edelstein
    Thelma is both more mysterious and more accessible than his other films. The spell it casts transcends the silly plotting. It puts you in a zone all its own.
    • 90 Metascore
    • 90 David Edelstein
    We’re not so much watching Woodcock the rarefied designer as Day-Lewis the rarefied actor, his immersion so uncanny that he can illuminate a soul at once titanic and stunted.
    • 83 Metascore
    • 70 David Edelstein
    The Post is a good enough “procedural” to keep you hooked.
    • 84 Metascore
    • 90 David Edelstein
    The Other Side of Hope — which is tragic, funny, depressing, and inspiring — shows that a truly imaginative artist has resources unavailable to journalists and nonfiction filmmakers. In Kaurismaki’s work, it’s as if the masks of comedy and tragedy don’t — as usual — face away from each other, but stare each other in the face, as if they were saying, “You and me, we’re in this together.”
    • 76 Metascore
    • 70 David Edelstein
    The Disaster Artist is primarily a pedestal for the ultimate James Franco performance — it’s his "Lincoln." Whatever my queasiness about laughing at a head case, I couldn’t help myself from thrilling to Franco’s timing, his relish, his swan dive into an egotism that has no bottom.
    • 93 Metascore
    • 100 David Edelstein
    Chalamet gives the performance of the year. By any name, this is a masterpiece.
    • 77 Metascore
    • 70 David Edelstein
    You come away from Jim & Andy wondering — not for the first time — about the cost to great artists of what they do, envious of their talent and thinking, “I’m glad that’s not me.”
    • 66 Metascore
    • 80 David Edelstein
    Wonder has an overflowing humanism that extends to less-sympathetic characters.

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