David Edelstein

Select another critic »
For 1,905 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 2.1 points higher than other critics. (0-100 point scale)

David Edelstein's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Meru
Lowest review score: 0 Battlefield Earth: A Saga of the Year 3000
Score distribution:
1905 movie reviews
    • 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.
    • 76 Metascore
    • 80 David Edelstein
    It's not a flawless adaptation, but it's a gutsy and deeply affecting one: The filmmakers manage to jazz up Smiley's tempo without losing her melancholy tone; and they find a way--without being untrue to the book--to make the stubbornly recessive protagonist seem a dynamo on the screen.
    • 73 Metascore
    • 80 David Edelstein
    Even with all its elisions and distortions it tells a cracking good story. Turing is played with captivating strangeness by Benedict Cumberbatch.
    • 83 Metascore
    • 80 David Edelstein
    Probably that’s the most hopeful thing in the film — that and the spare and very beautiful guitar soundtrack by Gaute Barlindhaug and Ciwan Haco. No one can make sense of what is happening to this and other families. But they must film it.
    • 80 Metascore
    • 80 David Edelstein
    Director Bill Pohlad (working with frequent Wes Anderson cinematographer Robert Yeoman) is extraordinarily sensitive to the amorphous nature of Wilson’s life and art, and Atticus Ross’s score creates a floating, evocative soundscape, which is Brian Wilson–esque without a trace of plagiarism.
    • 69 Metascore
    • 80 David Edelstein
    If time-travel is your thing, you learn to shrug off inconsistencies. You debate chicken-egg questions over drinks or dope and mull over all the permutations. You graph it. You wish like hell you had a time machine. You savor every discombobulating, ludicrous, thrilling second of Predestination.
    • 87 Metascore
    • 80 David Edelstein
    HPATDH 2 works like a charm. A funereal charm, to be sure, but then, there's no time left for larks.
    • 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.
    • 68 Metascore
    • 80 David Edelstein
    It's probably easier for an ex-prosecutor known for macho threats to say he got caught screwing than for him to say he got screwed. But folks, he was reamed.
    • 47 Metascore
    • 80 David Edelstein
    Gracefully directed by Robert Schwentke, the film has a perfect performance by Bana, rangy and haunted, never at home in his body.
    • 77 Metascore
    • 80 David Edelstein
    The movie is overcalculating and occasionally coarse, but it has a gentle spirit. We should count its existence as a blessing.
    • 77 Metascore
    • 80 David Edelstein
    The film is stunningly bleak and staggeringly violent. Major characters go down in showers of blood and gore. I’ve seen worse and so, probably, have you, but never from such an essentially wholesome corporate enterprise with a target audience so young and hopeful.
    • 84 Metascore
    • 80 David Edelstein
    Now, at last, comes a fun dystopian sci-fi epic — a splattery shambles with a fat dose of social satire and barely a lick of sense. It’s Bong Joon-ho’s Snowpiercer, which must be seen to be disbelieved.
    • 76 Metascore
    • 80 David Edelstein
    August Wilson knew that, which is why his plays resonate far beyond melodrama. So does Lady Macbeth. It eats into the mind with its vision of evil as a contagion that transforms victims into oppressors.
    • 62 Metascore
    • 80 David Edelstein
    Morton is one of those tingly actresses whose skin barely covers her soul, and to watch her search for tender mercies in a crazy-hostile world is a gift. The film is appallingly good.
    • 73 Metascore
    • 80 David Edelstein
    Before you quite know what’s happening, you’re swerving into another sort of movie altogether. And then another. You might not buy them all, but what a great ride.
    • 67 Metascore
    • 80 David Edelstein
    That's the feeling Stephen Chbosky captures in The Perks of Being a Wallflower, his exquisite adaptation of his best-selling YA novel about a Pittsburgh high-school freshman who doesn't fit in and then all of a sudden does, for a spell.
    • 81 Metascore
    • 80 David Edelstein
    Blue Valentine leaves you with the shattering vision of its truest victim-the one who'll someday look for safety in places it might not be. And the psychodrama will go on and on …
    • 52 Metascore
    • 80 David Edelstein
    Watching Apocalypse, you don’t feel as if every character is being set up for his or her own spinoff. They complement one another. They need one another. The overflowing ensemble nature of the enterprise is the whole point.
    • 64 Metascore
    • 80 David Edelstein
    Isn't as campy or as unhinged as the delightful Bailey and Barbato Tammy Faye Baker documentary, "The Eyes of Tammy Faye"; it's more like your standard HBO documentary (and HBO co-produced). But it's extremely entertaining.
    • 66 Metascore
    • 80 David Edelstein
    The Angels’ Share is a rare upbeat Ken Loach comedy — and a wee dram of bliss. Set in Scotland, it has a blessedly funny overture.
    • 72 Metascore
    • 80 David Edelstein
    The compact Hennie is a wonderful actor, smoothly congenial when confident, uproarious when rattled. And he will be rattled-as well as stabbed, shorn, bitten, mangled, and worse.
    • 66 Metascore
    • 80 David Edelstein
    I loved it, but you might not. Despite its often prostrating bleakness and an ending likely to inspire howls of outrage (Solondz’s world is not kind to children or pets), it might be the closest he’ll ever come to making an inspirational work.
    • 84 Metascore
    • 80 David Edelstein
    Has a mixture of bloodletting and exultation that would make Sam Peckinpah sit up in his grave and howl with pleasure.
    • 77 Metascore
    • 80 David Edelstein
    Grandma marks a new era in gay cinema — one’s that confident and mature enough to acknowledge regret.
    • 80 Metascore
    • 80 David Edelstein
    Another year, another Mike Leigh gem.
    • 75 Metascore
    • 80 David Edelstein
    The movie's approach makes for juicy melodrama.
    • 84 Metascore
    • 80 David Edelstein
    Holy Motors is typically confounding but on every level that matters a work of unfettered - and liberating - imagination.
    • 84 Metascore
    • 80 David Edelstein
    Payne is too acerbic - maybe too much of an asshole - to settle for easy humanism. But he's too smart a dramatist to settle for easy derision. Mockery and empathy seesaw, the balance precarious - and thrillingly so. It's the noblest kind of satire: cruel and yet, in the end, lacking the killing blow.
    • 74 Metascore
    • 80 David Edelstein
    Molly’s Game isn’t the deepest movie you’ll see, but it’s both finely tuned and big-hearted. It’s a rouser.
    • 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.
    • 73 Metascore
    • 80 David Edelstein
    Super-entertaining, super-disgusting documentary.
    • 75 Metascore
    • 80 David Edelstein
    Calculated to enrage and pulling it off like gangbusters, Don Argott’s documentary The Art of the Steal pits the legacy of the late Albert C. Barnes’s Barnes Foundation (which boasts arguably the world’s finest collection of French Impressionist and Post-Impressionist art) against the social-climbing, philistine, downright Nixonian machinations of Philadelphia’s wealthiest--who gamed the system and pried the collection loose in defiance of Barnes’s legal will.
    • 63 Metascore
    • 80 David Edelstein
    It has its own explosively twisted originality. It's a geyser of exhilarating tastelessness.
    • 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.
    • 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.
    • 91 Metascore
    • 80 David Edelstein
    Ida
    The movie’s chill is hard to shake off. It’s a grimly potent portrait of repression, of what happens to a society that buries its past in an unmarked grave — and lives its present in a state of corrosive denial.
    • 71 Metascore
    • 80 David Edelstein
    There isn’t a single false scare. There isn’t, come to think of it, a scare that doesn’t set up another scare.
    • 76 Metascore
    • 80 David Edelstein
    The soundtrack is extraordinary. Songs from the Shangri-Las, Simon & Garfunkel, Leonard Cohen, Portishead, and many others drift in and out, sometimes taken up by Strayed as she heads into the scrubby landscape toward a mountain a long way away. The fragmentation is remarkably fluid. The pieces are all of a piece.
    • 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.
    • 65 Metascore
    • 80 David Edelstein
    That lawn with its scraps of a ruined life is a setting both satirical and poignant, and Will Ferrell gives a performance of Chekhovian depth.
    • 64 Metascore
    • 80 David Edelstein
    The film has a foggy cast to it--flat and insinuatingly creepy, like the actor. But then it can be lit, in an instant, by searing flash-pots of cruelty and wit. Even when it's slightly opaque, it's transfixing.
    • 90 Metascore
    • 80 David Edelstein
    Everything I've ever dreamed of in a crazy comedy. It's close to pure farce, yet its laughs are grounded in loneliness, impotence, self-loathing, and that most discomfiting of vices to dramatize: envy. The action is surreal, the emotions are violently real.
    • 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.
    • 72 Metascore
    • 80 David Edelstein
    Pi
    This is very much a first feature, with all the hyperbolic, sometimes indiscriminate cinematic energy of a student film. But it's also sensational, a febrile meditation on the mathematics of existence.
    • 67 Metascore
    • 80 David Edelstein
    As Bolt, John Travolta is inspired: His voice still cracks like an adolescent’s, and he has the perfect dopey innocence.
    • 85 Metascore
    • 80 David Edelstein
    It's no wonder young musicians say they learned to be rock stars from This Is Spinal Tap. It came to satirize and stayed -- and stays on -- to celebrate.
    • 65 Metascore
    • 80 David Edelstein
    One of those half-straight, half-spoof comic-book extravaganzas that don't ever work, and what's neat is that this one does--beautifully.
    • 84 Metascore
    • 80 David Edelstein
    Get Out is a ludicrous paranoid fantasy, but that doesn’t mean it’s not alive in the unconscious. Having it out there in so delightful a form helps us laugh at it together — and maybe later, when we’ve thought it over, shudder.
    • 86 Metascore
    • 80 David Edelstein
    Liam Neeson has gravely splendid pipes as Ponyo’s father, a once-human wizard who lives underwater and despises humankind for polluting the planet.
    • 75 Metascore
    • 70 David Edelstein
    I’m not wholly clear on the link between a jellied green thing wriggling along a tree branch and the oneness of life, but Shinto Buddhist ruminations sound good in almost any context, and the film is entrancing.
    • 68 Metascore
    • 70 David Edelstein
    I’ve never seen a movie that so cunningly exploits our anticipation.
    • 83 Metascore
    • 70 David Edelstein
    You gasp at the ecstatic convergence of lung power and spirit.
    • 70 Metascore
    • 70 David Edelstein
    Often howlingly funny, and the actors are a treat. But the underlying message is so suspect that it’s hard to suspend disbelief.
    • 64 Metascore
    • 70 David Edelstein
    Ultimately, it has less in common with "Blair Witch" than with such quivering lumps of sentiment as "Ghost" and Field of Dreams."
    • 66 Metascore
    • 70 David Edelstein
    I love Nicholson here because he lets Keaton take the movie--and his relative reticence is very attractive.
    • 63 Metascore
    • 70 David Edelstein
    It's depressing that this first movie in years to dramatize the American Revolution has so little to do with the politics of secession and so much to do with pop-culture themes of vigilantism.
    • 66 Metascore
    • 70 David Edelstein
    Apart from scenes with Leslie Mann as a mother who propagates the wisdom of The Secret (she’d be too heavy-handed for a Disney Channel sitcom), The Bling Ring is enjoyable. And it’s always easy on the eyes.
    • 75 Metascore
    • 70 David Edelstein
    The laughs are fuller when they're rooted in authentic desperation, and the premise is yeasty enough to keep the film from sinking into facile hopelessness.
    • 39 Metascore
    • 70 David Edelstein
    Once the premise had been established and the leads began to interact, I stopped totting up the inanities and had a good time.
    • 65 Metascore
    • 70 David Edelstein
    A religious conspiracy disguised as a romance.
    • 63 Metascore
    • 70 David Edelstein
    An extremely pleasant, consistently amusing diversion that is never as uproarious as you might hope. But don't panic, as the Guide would say. In a pinch, it will do.
    • 48 Metascore
    • 70 David Edelstein
    It's a measure of Brooks' stature that he survives the self-sabotage and comes through with his most engaging performance in years.
    • 55 Metascore
    • 70 David Edelstein
    There's a car chase that's more fluid and inventive than the much-touted freeway sequence in "The Matrix Reloaded," and the stars are nimble enough to make their acrobatics credible--no matter how many stunt doubles the picture employed.
    • 73 Metascore
    • 70 David Edelstein
    What’s on display here is a great actor at his absolute peak — damn it all.
    • 50 Metascore
    • 70 David Edelstein
    James Franco’s adaptation of the sick little Cormac McCarthy period novel Child of God is surprisingly pretty good.
    • 49 Metascore
    • 70 David Edelstein
    I think the movie works best if you know the original and have a taste for goofy revisionism.
    • 61 Metascore
    • 70 David Edelstein
    An outlandishly entertaining mixture of high silliness and high style.
    • 63 Metascore
    • 70 David Edelstein
    Does Rocky Balboa deliver? Weirdly enough, it does: I was jumping out of my seat during Rocky's bout. If you close your eyes and try to halve your IQ--aim for something between a baboon and a lemur--you might even think it's a masterpiece.
    • 60 Metascore
    • 70 David Edelstein
    But there are scenery chewers and there are Michelin-gourmet scenery chewers, and Pacino has a three-star feast.
    • 57 Metascore
    • 70 David Edelstein
    The movie, without seeming to realize it, turns into a romantic parable about the joys of being absorbed by a conglomerate.
    • 65 Metascore
    • 70 David Edelstein
    The dialogue of Alien: Covenant is often clunky and its plot repetitious. (As usual these days, there are too many climaxes.) But it’s scary and splatterful, which is all it really needs to be. It holds you.
    • 68 Metascore
    • 70 David Edelstein
    Becomes increasingly unwatchable -- not just bleak but punishing, as if the director wants to fry your circuits along with his characters'.
    • 63 Metascore
    • 70 David Edelstein
    My Cousin Rachel is a fascinating hybrid. It uses clunky devices out of a 19th-century melodrama, but its subject is modern: mistakes of perception and of metaphor. It’s about the myopia of the male gaze.
    • 80 Metascore
    • 70 David Edelstein
    It's scary to have to puzzle out a plot line scene by scene -- scary and exhilarating, at least for an hour.
    • 69 Metascore
    • 70 David Edelstein
    Howard manipulates audiences without guile, jerking tears, piling on catastrophes, smoothing out dissonances, making bad characters badder and good ones gooder--and clearly believing that this is wholesome. At what he does, he's peerless. I wish I had more respect for what he does--and for myself the next morning for surrendering.
    • 43 Metascore
    • 70 David Edelstein
    Anything Else feels driven. It's like a rant from a therapist's couch--angry, unmediated, free-associational, unleavened by sentiment or compassion. And it's something else that Allen hasn't been lately: funny.
    • 63 Metascore
    • 70 David Edelstein
    Bogdanovich has been so smooth and loving in his directorial attentions that he has forgotten to give the tragical farce proceedings any terrible momentum.
    • 75 Metascore
    • 70 David Edelstein
    I’d liked him to have asked the judge specifically about the MySpace girl, whose case led to his comeuppance. But it’s a huge story, and Kids for Cash provides a measure of justice.
    • 64 Metascore
    • 70 David Edelstein
    Mother and Child is suffused with grief and loss. It’s also suffused with compassion and insight.
    • 81 Metascore
    • 70 David Edelstein
    Elaine Stritch: Shoot Me is one of those showbiz docs that’s not exactly pleasurable but offers a penetrating glimpse — sometimes too penetrating — into what it means to eat, drink, and be contrary in the public sphere.
    • 54 Metascore
    • 70 David Edelstein
    Duchovny is rather endearing and Driver's absolutely enchanting.
    • 69 Metascore
    • 70 David Edelstein
    Operation Filmmaker doesn't quite shake out as a microcosm of the American-Iraq relationship, although Davenport cheekily toys with the conceit. But the movie is endlessly resonant.
    • 76 Metascore
    • 70 David Edelstein
    The beauty of Obvious Child is that there’s nothing obvious about it.
    • 77 Metascore
    • 70 David Edelstein
    Women deserve their own gross-out movies, and, in Wetlands, the punk force is strong. If your taste runs thataway, you should see it in a theater with one eye on the audience — and hope that a few people will think they’re going to see a documentary about threatened ecosystems. Talk about all wet!
    • 82 Metascore
    • 70 David Edelstein
    Nothing in Trophy shakes out neatly, because everyone onscreen has his or her own set of values and every value is in conflict. The movie is richer in every way for its tangled sympathies. It will leave you angry, sick, and confused — but not smug. Never smug.
    • 62 Metascore
    • 70 David Edelstein
    A charming, funny, reactionary mating comedy.
    • 63 Metascore
    • 70 David Edelstein
    Uneven, ludicrous, but--oh man!--fun to watch.
    • 80 Metascore
    • 70 David Edelstein
    It’s intermittently very funny. But it doesn’t make the existential leap to the big screen, and it doesn’t have the density of gags or the lunatic free-association of the best episodes.
    • 78 Metascore
    • 70 David Edelstein
    Clever novelist and screenwriter Alex Garland makes a half-dandy directorial debut with Ex Machina, a sci-fi film that — like much of his work — fakes excitingly in the direction of breaking new ground before turning formulaic so fast.
    • 62 Metascore
    • 70 David Edelstein
    The movie is a testament to compromise, and so are the Farrellys' other movies--between the freakish pain of living and the wonderfully dumb gross-out slapstick that said freakishness makes possible.
    • 57 Metascore
    • 70 David Edelstein
    The movie's revisionist tone is startlingly enough to carry you along.
    • 58 Metascore
    • 70 David Edelstein
    An honest tear-jerker.
    • 65 Metascore
    • 70 David Edelstein
    This is one of the most immediate, personal costume dramas ever made, and so it's not unseemly to consider how the writer-director and her heroine overlap.
    • 62 Metascore
    • 70 David Edelstein
    Adams is lovely and tremulous, but Big Eyes would be even better if Waltz was in the same key.
    • 69 Metascore
    • 70 David Edelstein
    The most powerful aspect of this strange little movie is the sense that in an instant things could go very, very bad — even if they don’t. Palo Alto puts you on edge because it’s all dangerous corners.
    • 76 Metascore
    • 70 David Edelstein
    It's Miyazaki's use of sound--and silence--that takes your breath away
    • 73 Metascore
    • 70 David Edelstein
    Good, sometimes thrilling, but it's less a war epic than an evocative romantic melodrama with a patchy first hour.
    • 70 Metascore
    • 70 David Edelstein
    The Nice Guys has a nice feel: just slick enough to keep from falling apart, just brutal enough to keep from seeming inconsequential.
    • 51 Metascore
    • 70 David Edelstein
    There's a great, Hitchcockian suspense sequence in a bathtub.
    • 76 Metascore
    • 70 David Edelstein
    Maggie’s Plan doesn’t quite gel, but it’s very enjoyable, and it has a solid emotional core.
    • 61 Metascore
    • 70 David Edelstein
    If you want rich folk-art colors, brainy spectacle, and breezy soap opera, then Frida is the biopic for you.
    • 76 Metascore
    • 70 David Edelstein
    The movie makes you empathize with the rage that drives these young men to violence--but it also makes you see how manly action wipes out their individuality, their uniqueness, and turns them into archetypal meatheads.
    • 74 Metascore
    • 70 David Edelstein
    The music ties together all the pretty pictures, gives the narrative some momentum, and helps to induce a kind of alert detachment, so that you're neither especially interested nor especially bored. Perhaps that's a state of Buddhist enlightenment.
    • 58 Metascore
    • 70 David Edelstein
    Most haunting of all is Caan, who has never given a performance this layered.
    • 54 Metascore
    • 70 David Edelstein
    In some strange way, I admire the enterprise. Like his Gerrys, Van Sant doesn't seem to know where he's going to wind up when he embarks on these journeys. The ether that seeps into his head might be the price we have to pay for his keeping his mind so open.
    • 68 Metascore
    • 70 David Edelstein
    Like Crazy has a lively syntax and could, in an ungrateful mood, be tagged as slick. But Doremus gets the tempos right.
    • 47 Metascore
    • 70 David Edelstein
    It's bursting with goofy banter, Hollywood in-jokes, sexy love scenes, and chases that go on much too long but have the kind of madcap self-indulgence that makes questions of logic or credibility seem dull-witted. It's a great piece of mindful escapism.
    • 61 Metascore
    • 70 David Edelstein
    On one level: groan. On another: No one else seems about to make those arrests. The only thing that would scare Wall Street straight is the image of Michael Moore as the new sheriff in town.
    • 64 Metascore
    • 70 David Edelstein
    You have to give credit to Frailty for jiggering up the formula a bit, so that what starts as an ominously low-key study of a boy coming of age with a mad father escalates into a combination of "The Texas Chainsaw Massacre" and "Breaking the Waves" -- Grand Guignol religiosity.
    • 53 Metascore
    • 70 David Edelstein
    While it's true that you can't pack as much psychological detail into a movie as you can into a novel, director Philip Saville and screenwriter Adrian Hodges bring out the yeasty subtext of even the most brittle encounters.
    • 43 Metascore
    • 70 David Edelstein
    It’s a closed, depressing vision, elevated by compassion and superbly evocative filmmaking.
    • 61 Metascore
    • 70 David Edelstein
    A fine movie, beautifully acted, but it isn't easy to love--or to watch. It's a parade of miseries, made even more miserable by Gore Verbinski's direction.
    • 82 Metascore
    • 70 David Edelstein
    The documentary is solid as … as … an anvil. And if you can forget Spinal Tap (hard), it's also rather touching the way these 50-year-olds still have the forged-in-fire fortitude.
    • 83 Metascore
    • 70 David Edelstein
    I'm not turning cartwheels over Adaptation as energetically as my colleagues. Part of me -- and I'm thinking aloud here, I've likely been infected by Kaufman's comic self-consciousness, and also by his meta-comic impulse to draw attention to that self-consciousness, and probably also by his meta-meta-comic impulse to draw attention to drawing attention to his self-consciousness -- that -- that --
    • 65 Metascore
    • 70 David Edelstein
    The most effective counterweight to Polanski's fatalism is young Barney Clark, whose Oliver--although given to few words--is unshakably alive and responsive, even as he's being buffeted violently by forces beyond his control.
    • 69 Metascore
    • 70 David Edelstein
    The movie makes for a good old-fashioned wide-screen wallow. Norton isn’t remotely credible, but Toby Jones is dandy as a sleazeball with a core of decency, and Watts is so open, so soulfully petulant, so transcendentally pretty, that even Maugham might reconsider the pleasures of the flesh.
    • 59 Metascore
    • 70 David Edelstein
    I can't think of too many actors who could bring off Jim Winters. LaPaglia manages to convey, wordlessly, the man's inner struggle.
    • 58 Metascore
    • 70 David Edelstein
    The good news is that The Dictator is a loose and silly and occasionally exhilarating political farce in the tradition of Chaplin's The Great Dictator (obviously) and the Marx Brothers' antiwar masterpiece "Duck Soup." And it comes in at a fleet 83 minutes - just right.
    • 64 Metascore
    • 70 David Edelstein
    They’ve taken "2001" and Tarkovsky’s "Solaris" and "Silent Running," mixed in stuff from save-the-earth pictures like "The Core" and "Deep Impact," and thrown in a cheesy climax out of "Alien."
    • 44 Metascore
    • 70 David Edelstein
    Bushwick is actually an amazing template for the kind of virtual-reality entertainment that I bet will be common in a decade or two.
    • 42 Metascore
    • 70 David Edelstein
    Cold Turkey is a simmering piece of holiday dystopia with a good, scorching boil-over.
    • 52 Metascore
    • 70 David Edelstein
    It’s a rare “reboot” that transcends its studio’s money-grubbing. It has some Big Ideas.
    • 72 Metascore
    • 70 David Edelstein
    Lee views these mortal fools with a sorrowful detachment. He's a sort of clinical humanist, editorializing only by what he leaves out. The downside of this method is its impersonality, which limits our involvement. The upside is its lack of cheap sentiment, and its clarity.
    • 66 Metascore
    • 70 David Edelstein
    It's surprising that The Greatest Movie Ever Sold plays so entertainingly, given that Spurlock's quest is essentially beside the point.
    • 84 Metascore
    • 70 David Edelstein
    In the end, the movie is more than the sum of its fragments. The montages are intense, the images ravishing. The movie is tactile. When you finally feel this place, you understand just how little you understand.
    • 60 Metascore
    • 70 David Edelstein
    The new James Bond movie Spectre makes a satisfying final chapter to the four-film saga of Daniel Craig’s 007, even if that saga turns out to be less than the sum of its parts.
    • 66 Metascore
    • 70 David Edelstein
    I like my SpongeBob a little less lumbering, a little more free-associational, without that big, heavy anchor of a story structure to weigh him down.
    • 61 Metascore
    • 70 David Edelstein
    To like Trance as much as I did, you have to revel in the senseless showmanship — in watching Boyle indulge his taste for cinematic flight, in this case teasing you with the old “Is this real or a dream?” number so artfully that you don’t care that much about the answer.
    • 60 Metascore
    • 70 David Edelstein
    It demands to be seen, for Drew Barrymore, who is at once the dizziest and most magically poised comedienne in movies today.
    • 55 Metascore
    • 70 David Edelstein
    Weisz is an excellent Hypatia. For all her intelligence, there's something childish, off-kilter, vaguely otherworldly in her aura. She's just the type to be gazing into the heavens while around her all hell breaks loose.
    • 83 Metascore
    • 70 David Edelstein
    It’s when the Somalis spirit Phillips away in a closed lifeboat that Captain Phillips becomes a great thriller, in part because Barry Ackroyd’s camera is stuck inside with the characters and its jitters finally seem earned.
    • 71 Metascore
    • 70 David Edelstein
    All over the map, but it's worth enduring the botched gags, formula plotting, and even the racism to marvel at the genius of Robert Downey Jr.
    • 71 Metascore
    • 70 David Edelstein
    The movie is very beautiful, with a shambling pace and slow fade-ins and fade-outs; and when it works there's a tension between its characters' scuffling small-talk and its majestically ruined rural setting.
    • 72 Metascore
    • 70 David Edelstein
    The movie is ludicrous, but Eastwood’s consistency is poignant. He has an agenda and sticks to it.
    • 65 Metascore
    • 70 David Edelstein
    It's square, stiff, and in places cheesy; it's also authentically harrowing -- and blood-showered, blood-drowned.
    • 69 Metascore
    • 70 David Edelstein
    The film does, however, have the best weapon in the world against the perception of slickness: an actress without a smidgen of actressiness.
    • 74 Metascore
    • 70 David Edelstein
    Squirmily funny documentary.
    • 72 Metascore
    • 70 David Edelstein
    Occasionally you see a documentary and it hits you how much you don’t know about someone who was part of your mental landscape.
    • 65 Metascore
    • 70 David Edelstein
    Surprisingly intimate and nuanced.
    • 66 Metascore
    • 70 David Edelstein
    Crudely ­powerful. You can object to the thuggish direction and the script that’s a series of signposts, but not the central idea, which is genuinely illuminating.
    • 75 Metascore
    • 70 David Edelstein
    A heartbreaking vérité documentary by Jennifer Venditti about a misfit Maine teenager--a film that makes you think about (and question) what fitting in really entails.
    • 64 Metascore
    • 70 David Edelstein
    Every Dardennes movie is worth seeing, and The Unknown Girl has all kinds of gripping undercurrents.
    • 38 Metascore
    • 70 David Edelstein
    Unlike the '70s Italian cannibal movies, The Green Inferno doesn’t have a mondo vibe. It’s artfully made and acted with skill.
    • 37 Metascore
    • 70 David Edelstein
    It’s funny, clunky, earnest, and barely credible, but it’s all of a piece.
    • 68 Metascore
    • 70 David Edelstein
    What makes Fracture hum is the way Hopkins bares his teeth, twitches his nostrils, and trains his shiny pinprick Lecter eyes on his co-star.
    • 73 Metascore
    • 70 David Edelstein
    Any war picture in which the heroine stalls the villain with a quiet, painstaking tea ceremony until the wind shifts direction and the good guys can firebomb the bad guys into oblivion is too ineffably Zen not to love.
    • 46 Metascore
    • 70 David Edelstein
    The film, smoothly directed by David Dobkin, has a neat farcical structure but is too in love with its overly tight-lipped protagonist and deadpan pacing.
    • 68 Metascore
    • 70 David Edelstein
    Pierrepoint is worth seeing for Shergold's attention to process and for all the ghoulish details.
    • 75 Metascore
    • 70 David Edelstein
    Excitingly convoluted.
    • 82 Metascore
    • 70 David Edelstein
    The first act is a thing of beauty and the second, good enough. Shame about that third act, though, and the ending that retroactively diminishes everything that preceded it.
    • 67 Metascore
    • 70 David Edelstein
    It doesn’t have the youthful kick of its predecessor, but given the pervasiveness of addiction and suicidal ideation and despair it’s amazingly buoyant.
    • 71 Metascore
    • 70 David Edelstein
    The film is a canny balancing act, making Koch's arrogance so plain that you quickly move past it and concede that he accomplished remarkable things for a city that was broke and in chaos and with much of its housing stock in ruins.
    • 42 Metascore
    • 70 David Edelstein
    There's a huge change that turns the nihilistic carnage of Craven's original into something suffused with old-fashioned family values, so that we can relax and enjoy watching the bad guys get beaten, skewered, dismembered by garbage disposals, and tortured with microwave ovens.
    • 42 Metascore
    • 70 David Edelstein
    Morel will inevitably be compared to John Woo, whom he trounces. He has fewer mannerisms (no damn doves) and a keener eye; his fastest, most kinetic shots flow together like frames in a flipbook.
    • 59 Metascore
    • 70 David Edelstein
    Gray knows how to sell the idea of unalterable destiny with a car chase: That’s the mark of a real action director.
    • 65 Metascore
    • 70 David Edelstein
    Haynes sets out to demonstrate the power of popular music to change people's lives--to tell them it's OK to fashion themselves into anything they please.
    • 59 Metascore
    • 70 David Edelstein
    Unfriended really does use everything teens cherish about their technology lifestyle against them. It’s a mean, potent little movie.
    • 65 Metascore
    • 70 David Edelstein
    Deadpool is a send-up of Marvel movies but in no way a takedown of them. It’s not subversive — it’s meant to elasticize and enhance the superhero genre, to flatter the audience for being hip enough to get all of those in-jokes.
    • 55 Metascore
    • 70 David Edelstein
    Caine makes a grave, soulful vigilante avenger, and first-time director Daniel Barber gives the film a dank, streaky, genuinely unnerving palette.
    • 84 Metascore
    • 70 David Edelstein
    Even at its most self-conscious, there’s something lovable about A Ghost Story.
    • 56 Metascore
    • 70 David Edelstein
    He thrilled me, then betrayed me in the end.
    • 71 Metascore
    • 70 David Edelstein
    All along we've known that the contest was a metaphor for getting your act together BEFORE taking it on the road.
    • 70 Metascore
    • 70 David Edelstein
    The movie is too long (nearly two hours), but the acting--Gere, Molina, the peerlessly edgy Hope Davis, Marcia Gay Harden as Irving's loopy Swiss-German painter wife--keeps you giggling. And the story has something up its sleeve--a dream finish.
    • 57 Metascore
    • 70 David Edelstein
    This is ultimately a conversion melodrama, and a clumsy one. But until it goes to hell, it's thrillingly good, a fervid answer to the spate of cop movies that glorify brutality and sanction ends over means.
    • 73 Metascore
    • 70 David Edelstein
    If you’ve never seen a Johnnie To crime picture, Exiled is a simple, stylish, and utterly delightful introduction.
    • 76 Metascore
    • 70 David Edelstein
    Beautifully made and unsurpassingly creepy, it's the rare remake with something contemporary to add.
    • 49 Metascore
    • 70 David Edelstein
    Jake Paltrow's comedy takes familiar male-angst material and turns it into a painful--but fun--string of jokes.
    • 65 Metascore
    • 70 David Edelstein
    Although Catfish is opportunistic, even borderline exploitive, it gets at-by indirection, through the back door-the magic-carpet aspect of this scary new medium. Real people are so complicated and irreducible, you know?
    • 42 Metascore
    • 70 David Edelstein
    Armageddon is awesome, dude, but it's, like, short on awe.
    • 69 Metascore
    • 70 David Edelstein
    I’m only half-kidding when I suggest that you see the movie but leave (especially if you have kids) at what’s obviously the end of the first act. You’ll still get the dissonances, ambiguities, and portents of doom, along with much that is pure enchantment. And you won’t leave thinking the movie had been made by the Big Bad Wolf.
    • 49 Metascore
    • 70 David Edelstein
    A fun ride. It's loud and obvious, but it's also the first high-tech, sci-fi thriller to think through some of the implications of cloning and capitalism.
    • 83 Metascore
    • 70 David Edelstein
    Early on, writer-director David Michôd serves up "Trainspotting"-like tricks and narration that is beguiling, if rarely apropos. But the actors are something.
    • 73 Metascore
    • 70 David Edelstein
    This is a star-making performance, as fresh and funny as Christopher Reeve's in Superman (1978).
    • 72 Metascore
    • 70 David Edelstein
    Lisa Kudrow does a dazzling turn as a guidance counselor who's a flickering mixture of sympathy and narcissism. But the movie belongs to Stone, that gorgeous, husky-voiced redhead.
    • 64 Metascore
    • 70 David Edelstein
    A poky but blood-freezing throwback to the gothic horror films of the seventies, when ingénues moved tremulously down dark corridors without holding digital video cameras.
    • 69 Metascore
    • 70 David Edelstein
    Solondz conjures a world that's rotting away from the inside, in which only the children--freckle-faced Dylan Riley Snyder and Emma Hinz--weep over the loss of moral authority. This might be some kind of goddamned masterpiece, but I'm not sure I want to watch it again to say for sure.
    • 80 Metascore
    • 70 David Edelstein
    First-time director Richard Kwietniowski has fun with the collision of high and low culture, and he does elegant work.
    • 72 Metascore
    • 70 David Edelstein
    This wistful little film is at just the right temperature.
    • 46 Metascore
    • 70 David Edelstein
    Saw
    Less a classical narrative than an ingenious machine for inducing terror, rage, and paralyzing unease.
    • 67 Metascore
    • 70 David Edelstein
    It goes soft, but even a gelded traditional farce is more potent than most of our slob comedies.
    • 66 Metascore
    • 70 David Edelstein
    Farce born of sadly irreconcilable impulses: Bravo!
    • 66 Metascore
    • 70 David Edelstein
    I fear that the cozy domestic ending will leave audiences disappointed, convinced that they've seen something smaller and less momentous than they have.
    • 66 Metascore
    • 70 David Edelstein
    Tukel takes a big risk in Catfight: using farcical means to weave together personal and political tragedies, so that each dimension feeds the other. The rough edges and occasional clunks are a small price to pay.
    • 78 Metascore
    • 70 David Edelstein
    The Lost City of Z(ed) isn’t as expansive as you might initially wish but still pulls you in and along.
    • 55 Metascore
    • 70 David Edelstein
    You can find fault with virtually every scene in Luhrmann’s The Great Gatsby — and yet in spite of all the wrong notes, Fitzgerald (and the excess he was writing about and living) comes through. The Deco extravagance of the big party scenes is enthralling. Luhrmann throws money at the screen in a way that is positively Gatsby-like, walloping you intentionally and un- with the theme of prodigal waste.
    • 76 Metascore
    • 70 David Edelstein
    Wasikowska's Jane is as watchful as only a damaged soul can be, and, when challenged, frighteningly fast.
    • 79 Metascore
    • 70 David Edelstein
    It's sensationally well-made: skittery and kinetic, packed with mayhem, yet framed (and narrated) with witty detachment, so that the carnage never seems garish. The film is far from a work of art, but it marks the emergence of a great new action superchef.
    • 76 Metascore
    • 70 David Edelstein
    The even-tempered, exceedingly rational “El Doctor” seems more laudable than Eastwood and Bronson combined, especially in light of the Mexican government’s notorious ineptitude and corruption.
    • 73 Metascore
    • 70 David Edelstein
    Quite pleasant.
    • 71 Metascore
    • 70 David Edelstein
    Moment to moment, Sleepwalk With Me is smooth and very entertaining, but it's arrested somewhere between fiction and autobiography.
    • 31 Metascore
    • 70 David Edelstein
    Fanning is a child actor with a grown-up soul, and every move, every breath, seems mysteriously right.
    • 75 Metascore
    • 70 David Edelstein
    Delicate, wrenching, occasionally vexing.
    • 87 Metascore
    • 70 David Edelstein
    The movie doesn't quite come together, but it's full of smart, cynical talk, and it's very entertaining.
    • 80 Metascore
    • 70 David Edelstein
    The sheer scale of the movie is mind-blowing--it touches on every aspect of modern life. It's the documentary equivalent of "The Matrix": It shows us how we're living in a simulacrum, fed by machines run by larger machines with names like Monsanto, Perdue, Tyson, and the handful of other corporations that make everything.
    • 85 Metascore
    • 70 David Edelstein
    For all its original touches, though, An Education follows a conventional trajectory.
    • 55 Metascore
    • 70 David Edelstein
    The confusion in For a Good Time, Call… is delightful, the phone-sex talk sweetening the vibe. Justin Long is peerlessly funny as the girls' gay pal, but the movie belongs to Graynor, who's like Sandra Bullock with a touch of Ginger Rogers–y brass.
    • 65 Metascore
    • 70 David Edelstein
    It's a different sort of experience: a stately, somewhat plodding but endurable science-fiction saga.
    • 83 Metascore
    • 70 David Edelstein
    For all the wizardry on display, Hugo often feels like a film about magic instead of a magical film.
    • 63 Metascore
    • 70 David Edelstein
    There are a couple of hundred instances in which Johnson or her actors could take condescending short cuts and slip into white-trash stereotypes, but I didn't see any - only gifted performers vanishing into their characters, refusing to pass judgment.
    • 75 Metascore
    • 70 David Edelstein
    A slender thing, with a perversely undernourished color scheme: grainy blue exteriors and old-time sepia interiors. The fullness comes from the faces of its two protagonists.
    • 54 Metascore
    • 70 David Edelstein
    I was blissed out during much of To Rome With Love, but I have to acknowledge its creepy side.
    • 72 Metascore
    • 70 David Edelstein
    The comic surface of Kiss Kiss Bang Bang is all polished brilliance, with surprisingly few dull patches...The movie doesn't deliver in the kiss-kiss department, though.
    • 48 Metascore
    • 70 David Edelstein
    Wing and director Peter Segal and Sandler and Barrymore have built a comedy around the thrill of first attraction, the sadness that comes from knowing it can't last, and the challenge of finding something in the heart to hang onto.
    • 56 Metascore
    • 70 David Edelstein
    It turns out to be absolutely delightful.
    • 81 Metascore
    • 70 David Edelstein
    Why did Villeneuve and the screenwriter, Eric Heisserer, let the grade-B military melodrama run away with the story?
    • 59 Metascore
    • 70 David Edelstein
    Better than anyone dared hope: bigger, more inventive, and more frolicsome than its predecessor, with a grab bag of scatological gags that are almost as riotous when you think back on them.
    • 73 Metascore
    • 70 David Edelstein
    [A] compelling film touching on the perils of being young - that's it, merely young - in a culture without justice.
    • 75 Metascore
    • 70 David Edelstein
    On its own terms, Bernie is smoothly made and reasonably entertaining, Linklater doing his Austin-based best not to condescend to the locals - at least the East Carthage locals.
    • 54 Metascore
    • 70 David Edelstein
    Because I'm a sucker--I was entertained...The script is good at making you think that it has better cards than it really does. And the actors constitute a royal flush--OK, OK, enough with the poker metaphors.
    • 52 Metascore
    • 70 David Edelstein
    Anyone who sees the suffering faces of the victims in "Casualties" and "Redacted" knows that De Palma not only despairs over what he’s showing us but implicates his own medium--his own male gaze--in the crimes against nature.
    • 55 Metascore
    • 70 David Edelstein
    It's a good, thoughtful horror picture--and thiiis close to being a very good one.
    • 75 Metascore
    • 70 David Edelstein
    The best reason to see Mission: Impossible — Rogue Nation is Rebecca Ferguson, a Swedish-born actress passing easily as a British spy named Ilsa.
    • 77 Metascore
    • 70 David Edelstein
    I, Tonya is not by any means a weeper. It’s a black comedy, and parts of it are too broad, like a second-rate Coen brothers movie.
    • 57 Metascore
    • 70 David Edelstein
    The movie is repetitious, crudely dramatized, and awkwardly acted -- in English, which seems to be the second or third language of everyone involved -- Yet the movie, heavy-handed as it is, serves as a powerful rejoinder to “Blind Spot.”
    • 65 Metascore
    • 70 David Edelstein
    Yes, this farrago of fairy tale and sci-fi conspiracy flick is, on one level, howlingly obvious. But there are howls of derision and howls of amazement, and mine were of the latter kind, mostly.
    • 67 Metascore
    • 70 David Edelstein
    Stillman's comeback comedy Damsels in Distress is wobbly and borderline twee, but it deepens as it goes along and becomes rich.
    • 66 Metascore
    • 70 David Edelstein
    Sam Rockwell kills as the hero's loony tunes best friend, deliciously abetted by Christopher Walken as an aging, sad-sack dognapper.
    • 72 Metascore
    • 70 David Edelstein
    Casey Affleck has never had a pedestal like the one his brother provides him, and he earns it. His Patrick is pale and raspy, with a slight grogginess that gives him an astounding vulnerability--and makes his bursts of temper shocking.
    • 78 Metascore
    • 70 David Edelstein
    What saves this big-budget cartoon behemoth is its modest, old-fashioned storytelling.
    • 47 Metascore
    • 70 David Edelstein
    No one rises above the material, though, except for Walken, who looks pleased with the paycheck and the top-shelf tequila. As a shady lawyer, Mickey Rourke is smooth and funny, but recognizable only by his familiar purr.
    • 59 Metascore
    • 70 David Edelstein
    A bit of a philosophical muddle, but the climactic tennis scenes are galvanically convincing, with some long, nerve-racking volleys. And the rest of the picture works as "Notting Hill" (1999) with balls--and rackets.
    • 76 Metascore
    • 70 David Edelstein
    My favorite rock-concert movies, Jonathan Demme’s "Stop Making Sense" and "Neil Young: Heart of Gold," are organic: They chart a miraculous path from sound to soul. Scorsese stays on the outside, as befits his temperament and his subject. Yet there is, amid the whirligig spectacle, a spark of connection.
    • 71 Metascore
    • 70 David Edelstein
    David Fincher's American remake of The Girl with the Dragon Tattoo adds nothing to the previous adaptation, but it's certainly the more evocative piece of filmmaking.
    • 61 Metascore
    • 70 David Edelstein
    The acting, the on-the-fly atmosphere (the film was shot quickly), and Leguizamo's increasingly urgent hustle are deeply evocative, but parts of the movie are almost too painful to endure.
    • 64 Metascore
    • 70 David Edelstein
    It's formulaic, but it sticks to a classic Western formula instead of a cartoonish blockbuster one.
    • 58 Metascore
    • 70 David Edelstein
    Part goofy drug comedy, part shocking bloodbath. It’s a riot of tones and genres, but unlike that other recent hybrid, "Pineapple Express," the parts add up to something larger.
    • 94 Metascore
    • 70 David Edelstein
    What Nolan plus IMAX can do is go big. Spitfire swerving, boat tippings, men dropping to the sand as planes scream by — it doesn’t get any better. That first shot of men on a street in a shower of paper on which their deaths are foretold — brilliant. Somewhere inside the mess that is Dunkirk is a terrific linear movie.
    • 64 Metascore
    • 70 David Edelstein
    Conrad's last film, the underrated "The Weather Man," was a parade of miseries, too, but the protagonist (Nicolas Cage) didn’t move very fast in the throes of his existential crisis, and the palette (it was Chicago in winter) was glacial. Here, those crazy San Francisco hills give the movie a lift, and Muccino frames it all airily, with a glancing touch.
    • 62 Metascore
    • 70 David Edelstein
    What a gutsy, sad, seize-the-day, glorious life it was for the women warriors of Lipstick & Dynamite.
    • 69 Metascore
    • 70 David Edelstein
    Philip Seymour Hoffman carries the movie. As the CIA operative who hates Communists and his myopic superiors in equal measure, he has a wily, don’t-give-a-shit drive that makes you wish he’d been in Baghdad in 2003.
    • 72 Metascore
    • 70 David Edelstein
    The film is freaky, amusing, and sickening in equal measures—part fly-on-the-wall vérité, part multiple-perspective Altmanesque tragicomedy.
    • 82 Metascore
    • 70 David Edelstein
    The hole in the film isn't a reflection on Linney's performance. It's as if Baumbach, his hands full of oily whale blubber, didn't want to deal with an exploding sac of squid ink. And who can blame him, really?
    • 80 Metascore
    • 70 David Edelstein
    Whose idea was it to turn Minority Report into a mushy declaration of humanism? It ends up as less of a warning about an Orwellian police state than a protest that Pre-Cogs are people, too. It's Dick-less.
    • 80 Metascore
    • 70 David Edelstein
    Midway through, an eerier theme creeps in, all the more powerful for Herzog's lack of insistence. By the "end of the world" he means the end of the world.
    • 78 Metascore
    • 70 David Edelstein
    Holofcener’s plotting can seem casual (many characters, no speeches pointing up the themes, no conventional climaxes), but her dialogue is smart, an oscillating mixture of abrasiveness and balm, of harsh satire and compassionate pullback.
    • 66 Metascore
    • 70 David Edelstein
    I've saved the best for last: The love interest played by that throaty redheaded (here blonde) darling Emma Stone, whose blue eyes radiate so much intelligence that any actor on whom she trains them in adoration becomes an instant movie star.
    • 78 Metascore
    • 70 David Edelstein
    What begins like your basic police procedural becomes more and more choppy and diffuse. To a point, that’s intentional: Zodiac was never caught, and Fincher aims to creep you out with the lack of closure.
    • 82 Metascore
    • 70 David Edelstein
    Clooney is as good as he has ever been.
    • 55 Metascore
    • 70 David Edelstein
    A meathead revenge picture, but it’s very satisfying. Director Martin Campbell, coming off "Casino Royale," has a style that’s blunt and bruising.
    • 70 Metascore
    • 70 David Edelstein
    Thirteen has a way of smashing through your defenses. Hardwicke has goosed up the old melodramatic formula with a neorealist syntax and up-to-the-minute cultural nuances and violence.
    • 54 Metascore
    • 70 David Edelstein
    Thanks for Sharing is never quite crazy or funny enough to transcend its “disease-of-month” template. The title turns out to not be ironic — a mixed blessing.
    • 71 Metascore
    • 70 David Edelstein
    What makes My Brother Is an Only Child so alive and entertaining is how it dramatizes the endless tug-of-war between political conviction and personal experience--the way the lines twist and blur and finally implode.
    • 70 Metascore
    • 70 David Edelstein
    The movie is broad and mean and for a while very funny, but even when it goes sour — when the world slaps them in the face for their sins — it doesn’t lose its momentum.
    • 71 Metascore
    • 70 David Edelstein
    The movie is a passable entertainment -- call it The Half Monty.
    • 62 Metascore
    • 70 David Edelstein
    Given that the movie is one long chase--Neeson's motive withheld until the end, the monotony broken only by the slaying of one member of his posse after another--the film is surprisingly gripping.
    • 74 Metascore
    • 70 David Edelstein
    The movie is mechanical, but machines can be elegant, even inspired.
    • 66 Metascore
    • 70 David Edelstein
    Quite likable -- even sometimes, with the squeezable Zellweger its principal object, lovable.
    • 52 Metascore
    • 70 David Edelstein
    Of all the dumb megabudget "Die Hard"–like action pictures of the last few years (including that other White House Goes Boom movie, "Olympus Has Fallen"), this is both the most entertaining and the most inviting of viewers' input.
    • 70 Metascore
    • 70 David Edelstein
    Like much of Soderbergh's recent work, Contagion feels a little sterile, more like a cinematic exercise than something with blood pumping through it. It's certainly high-minded - it might be the most high-minded disaster movie ever made.
    • 76 Metascore
    • 70 David Edelstein
    For all the sprawl, American Gangster feels secondhand. It’s like "Scarface" drained of blood, at arm’s length from the culture that spawned it.
    • 59 Metascore
    • 70 David Edelstein
    The film is impressive. It has a bit of the cinematic whoop-de-doo of his noxious "Natural Born Killers," in which serial killers became existential heroes, celebrated for attaining absolute freedom.
    • 57 Metascore
    • 70 David Edelstein
    Once past the clunky prologue, the film is great fun, with a good balance between computer effects and athleticism.
    • 55 Metascore
    • 70 David Edelstein
    Has a mixture of edginess and melancholy that's beautifully sustained until the climax, when the tang of realism becomes the cudgel of melodrama.
    • 65 Metascore
    • 70 David Edelstein
    Sally Hawkins doesn’t rise above the film’s conception, but she makes it work.
    • 73 Metascore
    • 70 David Edelstein
    The breeziest, most convivial Marvel movie in ages.
    • 81 Metascore
    • 70 David Edelstein
    Like Pynchon’s novel, it’s a little insular, too cool for school. It’s drugged camp. Some of the plot points get lost in that ether — it’s actually less coherent than Pynchon, no small feat. It’s not shallow, though.
    • 57 Metascore
    • 70 David Edelstein
    A haunting duet for two great actors who haven't lost a step and have gained the most exquisite lyricism.
    • 66 Metascore
    • 70 David Edelstein
    She has the perfect nervy, nerdy, needy alter ego in Anna Kendrick.
    • 60 Metascore
    • 70 David Edelstein
    Michael Cuesta’s Kill the Messenger made me so angry over the apparent injustice done to its journalist hero, Gary Webb (Jeremy Renner), that I found it hard to remain in my seat.
    • 61 Metascore
    • 70 David Edelstein
    The film is smutty-mouthed and jumpy and free-associative, and Allen does everything but hurl his feces at the audience. The result is more rambunctious--and more fun--than any movie he has made in years.
    • 64 Metascore
    • 70 David Edelstein
    Don't worry, parents, only you--and not your 5-year-old--will get that the chicken's stoned out of his gourd.
    • 58 Metascore
    • 70 David Edelstein
    Has spasms of silliness that thaw things out delightfully. Davis plays Vartan's girlfriend as an irrepressible, sexed-up brat, and gives every line a little hop, skip, and jump.
    • 72 Metascore
    • 70 David Edelstein
    Is it scary? Not especially. But there are enough gory surprises around every bend to keep you laughing/screaming/cringing.
    • 74 Metascore
    • 70 David Edelstein
    Joe
    You can be of two minds about the movie’s climax without shame. It’s galvanizing and, after all the accumulated tension, longed-for. And it’s too easy. And it’s rousingly well done. And it’s cheap. And that’s what makes the vigilante myth so vexing.
    • 54 Metascore
    • 70 David Edelstein
    Shallow but satisfying, largely because of Meryl Streep and her big fake English teeth and gift for using mimicry as a means of achieving empathy.
    • 57 Metascore
    • 70 David Edelstein
    The plotting isn't fresh, and the politics are a tad reactionary, but the movie is also shapely, rounded, satisfying - a classical ghost story.
    • 82 Metascore
    • 70 David Edelstein
    Ineffably sad - yet there's almost no loitering. The film is crisp, evenly paced, its colors bright, as sharp as the winter cold.
    • 33 Metascore
    • 70 David Edelstein
    The captain narrates in a punchy, journalistic style that gives Elite Squad an air of sociological realism--it bears a resemblance to viscerally exciting seventies urban thrillers like "The French Connection."
    • 48 Metascore
    • 70 David Edelstein
    The upshot is a shoot-‘em-up with a lean palette and relatively streamlined carnage, wet but not sloppy. It can almost pass for “classical.”
    • 31 Metascore
    • 70 David Edelstein
    The reason to see An American Affair is Gretchen Mol. She has a mild, natural way of holding herself that's likably unactressy--in every film, she seems both smart and grounded.
    • 47 Metascore
    • 70 David Edelstein
    Gleefully pushes everyone's buttons...and that manages to exploit our own racial discomfort and envy in ways that leave us hungry for more.
    • 72 Metascore
    • 70 David Edelstein
    Is the movie good? It’s hard to be objective. The plotting is clunky and nonsensical, but Abrams and crew bombarded me into happiness. More than that, they made me feel so special for getting the in-jokes.
    • 74 Metascore
    • 70 David Edelstein
    Rivette has aged into one of cinema’s most ingenious minimalists. In The Duchess of Langeais he uses intertitles--bits of literary exposition--with cheeky understatement.
    • 71 Metascore
    • 70 David Edelstein
    After half an hour or so of ... stutter steps, Pete's Dragon starts working on you, much like those gold standards of the boy-and-his-otherworldly-friend genre, "E.T." and "The Iron Giant."
    • 71 Metascore
    • 70 David Edelstein
    What makes this an important film is the way it puts you in that landscape and in those shoes, so that you almost understand how ordinary human beings can be impelled to do inhuman things.
    • 63 Metascore
    • 70 David Edelstein
    In my frequent role as “laugh accountant” for mainstream comedies, I’d estimate two-thirds of it works, and when it’s good it’s sooooo good — good enough to make you want to see Jordan Peele and Keegan-Michael Key and director Peter Atencio and co-writer Alex Rubens do it again and go farther out.
    • 63 Metascore
    • 70 David Edelstein
    Potent enough to make me wish it were less clunky. It certainly won’t convert the jingoist fighting keyboardists, who probably won’t care that the president at the time the film is set — 2010 — is Obama, under whose watch the use of warrior drones has escalated exponentially. For them, Dick Cheney’s “dark side” still shines brightly.
    • 73 Metascore
    • 70 David Edelstein
    Beyond the Mafia-like code of silence, it comes down to this: The guys at the top reserved their compassion for priests like Father Murphy in the belief that the boys were young and would get over it. No one of true faith will get over Maxima Mea Culpa.
    • 61 Metascore
    • 70 David Edelstein
    Hoffman has wedged the play into a weirdly inapposite setting, has stupidly cut and even more stupidly embellished it, and has miscast it almost to a player. And yet the damn thing works: Shakespeare staggers through, mutilated but triumphant.
    • 72 Metascore
    • 70 David Edelstein
    The best thing about Seabiscuit is that it will make a lot of people hungry to read the book. They've seen the pretty pictures; now they'll want to enter the world.
    • 70 Metascore
    • 70 David Edelstein
    The movie is satisfying, though -- at least by the standards of that depressing phenomenon, the superhero "franchise."
    • 81 Metascore
    • 70 David Edelstein
    Jackie is a hard movie to love, but its brittleness might be its most admirable quality.
    • 54 Metascore
    • 70 David Edelstein
    Thor: The Dark World gets a lot more entertaining in the second hour, when the shape-shifting Loki is sprung from his cell (for complicated reasons) and immediately begins trading bitchy insults with his forthright, manly brother.
    • 76 Metascore
    • 70 David Edelstein
    The comic high point in Shaun of the Dead comes when Lucy Davis, from the great BBC sitcom "The Office," teaches the band of survivors how to lurch like zombies so that they can pass among the undead.
    • 69 Metascore
    • 70 David Edelstein
    So how's the Mamet "Rocky"? Fast. Lively. In your face. Very watchable. And, like its predecessors, so bizarrely convoluted it barely holds together on a narrative level. But the underpinnings are consistent.
    • 58 Metascore
    • 70 David Edelstein
    What hallucinogen was Turturro on when he came up with this plot? It’s so crazy that it’s … fun.
    • 81 Metascore
    • 70 David Edelstein
    The movie has already blown away advance-sale records, and when you go (which, of course, you will) I bet you’ll have fun — I did, mostly. But it’s the fun of seeing something fairly successfully redone, with the promise of more of the same to come.
    • 61 Metascore
    • 70 David Edelstein
    Its structure is repetitive, but each scene begins with a joyous blast of comic energy...A hoot.
    • 57 Metascore
    • 70 David Edelstein
    The Grand is a seesaw, but the setting--the high-stakes poker subculture--is remarkably fertile and the actors are a treat.
    • 63 Metascore
    • 70 David Edelstein
    Miguel Arteta’s rollicking Youth in Revolt is one of several recent movies to elevate the generic coming-of-age teen sex comedy to a plane of surrealism.
    • 60 Metascore
    • 70 David Edelstein
    It’s so smart, so winsome, so utterly rejuvenating that you’ll have to wait until your eyes have dried and your buzz has worn off before you can begin to argue with it. And you should argue with it — even if you had a blast, as I did, and want to see it again with the kids, as I do — because it’s a major pop-culture statement with all sorts of implications, both vital and nutty.
    • 67 Metascore
    • 70 David Edelstein
    The chronology is confusing at times, but the film is never not fascinating.
    • 46 Metascore
    • 70 David Edelstein
    But the question hangs: Does this artificial, three-hankie scenario justify its 9/11 appropriations? Dry your eyes and decide for yourself.
    • 70 Metascore
    • 70 David Edelstein
    Billy Bob Thornton's performance is--there's no other word--beautiful.
    • 47 Metascore
    • 70 David Edelstein
    I doubt many things — almost everything, to be frank — but I have no doubt that my Heaven Is for Real audience slept better that night. Whatever works.
    • 57 Metascore
    • 70 David Edelstein
    The talented writer-director Scott Frank comes awfully close in his adaptation of one of Block’s better novels, A Walk Among the Tombstones. I’d be way more enthusiastic if Frank hadn’t swapped out the book’s horrific, unforgettable ending for something so conventional, I can barely remember it a few days later.
    • 58 Metascore
    • 70 David Edelstein
    Cameron Crowe is a romantic bordering on utopian, and his authentic family values - biological and surrogate - shine through in his enchanting We Bought a Zoo.
    • 47 Metascore
    • 70 David Edelstein
    On the whole, this is a good B-movie that hits it modest marks.
    • 84 Metascore
    • 70 David Edelstein
    It left me bemused instead of moved, but true Andersonites will likely float away in a state of nirvana.

Top Trailers