David Edelstein

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For 1,858 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 2.5 points higher than other critics. (0-100 point scale)

David Edelstein's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 The Adventures of Tintin
Lowest review score: 0 Movie 43
Score distribution:
1858 movie reviews
    • 79 Metascore
    • 90 David Edelstein
    The movie is impressive.
    • 95 Metascore
    • 90 David Edelstein
    Raoul Peck’s driving, free-form documentary I Am Not Your Negro is not a direct response to Donald Trump’s delighted recognition of the lone nonwhite face he saw at one of his rallies: “Look at my African-American over here!” But the movie feels, if anything, even timelier, which is to say, timeless.
    • 90 Metascore
    • 90 David Edelstein
    The brilliance of Gett: The Trial of Viviane Amsalem is that, without a shift in tone, the film begins to seem like a tragedy populated by clowns, its males clinging to ancient laws to compensate for feebleness of character.
    • 85 Metascore
    • 90 David Edelstein
    All I can is that I didn’t draw too many breaths during the last half hour.
    • 78 Metascore
    • 90 David Edelstein
    I found it exquisite. In part I responded out of sheer amazement: I've never seen anything like the sequences in which Sandler, in his boxy, sea-blue suit, charges around his warehouse to the rhythm of Brion's harsh drums.
    • 73 Metascore
    • 90 David Edelstein
    This isn't just the most riotously inventive movie of the year, it's the raunch anthem of the age.
    • 78 Metascore
    • 90 David Edelstein
    The film is lyrical, expansive, unbearably beautiful.
    • 88 Metascore
    • 90 David Edelstein
    The movie goes on for three hours without an emotional letup — it’s finally overwhelming.
    • 79 Metascore
    • 90 David Edelstein
    Do I detect a note of self-satire in Jarmusch’s undead? I’d like to think he’s poking fun at his own stylized, white-boy cool. But underneath, of course, he’s deadly serious. A ruined metropolis, a snatch of dialogue about coming water wars, a poisoned blood supply: The garden of Adam and Eve is despoiled beyond remedy. This is a charming dirge, though.
    • 64 Metascore
    • 90 David Edelstein
    It's a rich, impressive comic-book fantasy -- easily the summer's best "blockbuster."
    • 90 Metascore
    • 90 David Edelstein
    Of all the great vocal characterizations...the showstopper is Brooks, who hasn't had a part this good since "Lost in America" (1985). His Marlin is tender, cranky, hysterical, yet somehow lucid.
    • 77 Metascore
    • 90 David Edelstein
    It’s richer than anything onscreen right now. It’s worth the pain.
    • 85 Metascore
    • 90 David Edelstein
    The film is a nearly unrelenting nightmare. Even interviews shot with the survivors after the fact have a current of dread.
    • 91 Metascore
    • 90 David Edelstein
    One of the most enthralling three hours you'll ever spend at the theater.
    • 69 Metascore
    • 90 David Edelstein
    There isn't a banal moment in Winslet's performance--not a gesture, not a word. Is Winslet now the best English-speaking film actress of her generation? I think so.
    • 72 Metascore
    • 90 David Edelstein
    Guillermo del Toro is in a class with Peter Jackson as a fan-boy who gets it--a brilliant filmmaker who has a kind of metabolic connection to horror and sci-fi that helps him transform secondhand genre material into something deep and nourishing. Del Toro reaches into himself and finds the Wagnerian grandeur in schlock.
    • 79 Metascore
    • 90 David Edelstein
    Beat by beat, scene by scene, gorgeous...at times emotionally devastating.
    • 82 Metascore
    • 90 David Edelstein
    This Pride & Prejudice (ampersand and all) a joy to behold.
    • 82 Metascore
    • 90 David Edelstein
    For all its slickness, School of Rock has a let's-put-on-a-show quality that touches you in the most direct way a movie can. It's as if the filmmakers had said, "I'd like to teach the world to kick butt--in perfect harmony."
    • 71 Metascore
    • 90 David Edelstein
    Outrageously entertaining.
    • 91 Metascore
    • 90 David Edelstein
    So Polley has gone meta — exuberantly, entertainingly, with all her heart.
    • 79 Metascore
    • 90 David Edelstein
    It’s the damnedest thing how the longueurs of Loving have such a cumulative power. I was still crying as the credits ended.
    • 76 Metascore
    • 90 David Edelstein
    This movie is utterly irresistible.
    • 71 Metascore
    • 90 David Edelstein
    It's hard to know whether to marvel or weep when James Carville goes into his Bill Clinton–meets–Looney Tunes act in Rachel Boynton's knockout documentary Our Brand Is Crisis--the context is so morally topsy-turvy.
    • 79 Metascore
    • 90 David Edelstein
    Fukunaga’s hurtling camera and taut cutting keep Beasts of No Nation only just this side of hallucinatory, and Elba is the kind of titanic actor to kick it to a near-mythic level.
    • 88 Metascore
    • 90 David Edelstein
    Pure and universal.
    • 89 Metascore
    • 90 David Edelstein
    The Best of Youth doesn't have a boring millisecond. It isn't an art film, with longueurs; it's a mini-series with the sweep of a classic novel, with tons of plot.
    • 83 Metascore
    • 90 David Edelstein
    The most enthralling movie of the year.
    • 79 Metascore
    • 90 David Edelstein
    The movie is phenomenally gripping—although it does leave you queasy, uncertain what to take away on the subject of men, women, marriage, and the possibility of intimacy from the example of such prodigiously messed-up people.
    • 80 Metascore
    • 90 David Edelstein
    The movie becomes a nail-biter, the audience hanging on every letter. Who could have anticipated that a spelling competition would yield such a heartbreaking thriller?

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