David Edelstein
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For 1,679 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 3.7 points higher than other critics. (0-100 point scale)

David Edelstein's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Let the Fire Burn
Lowest review score: 0 Movie 43
Score distribution:
1,679 movie reviews
    • 36 Metascore
    • 30 David Edelstein
    Bizarrely depressing.
    • 43 Metascore
    • 30 David Edelstein
    9 Songs could have been "Last Rock Show in London." Unfortunately, it's stupefyingly dull, even with good music and at the short but resonant length of 69 minutes.
    • 35 Metascore
    • 30 David Edelstein
    Jumper is so in sync with the language of modern action movies that it’s possible to look past its soullessness and go with the quantum flow.
    • 52 Metascore
    • 30 David Edelstein
    This is an extraordinary -- and unfathomable -- piece of whitewashing: a true snow job.
    • 31 Metascore
    • 30 David Edelstein
    A depressing comeback for Jane Fonda, but it's still nice to see her in movies again, and in something that isn't dripping with self-actualizing virtue like her last projects.
    • 36 Metascore
    • 30 David Edelstein
    Emminently skippable.
    • 58 Metascore
    • 30 David Edelstein
    The final illuminations (people have demons, a mind is a terrible thing to lose) are a poor return on nearly two hours of ear-buckling, eye-stabbing incoherence.
    • 30 Metascore
    • 30 David Edelstein
    And you wait--and wait--for the magic of movies.
    • 50 Metascore
    • 30 David Edelstein
    A well-polished cowpat that will confuse and bore those who know nothing about Shakespeare and incense those who know almost anything.
    • 39 Metascore
    • 30 David Edelstein
    It isn’t a train wreck--a train wreck would be memorable. What’s wrong is wrong by design.
    • 64 Metascore
    • 30 David Edelstein
    The documentary has its roots in a monologue in which the "guest of Cindy Sherman" (what H-O's place-card read at a gala) stood up for his personhood and made himself the center of the story—only there's NO STORY, not even insight into what made this unlikely couple click. Remove the boldface names and there's no movie; that center does not hold.
    • 61 Metascore
    • 30 David Edelstein
    My real problem with Matchstick Men is that it didn't con me well enough: I saw every trick up its sleeve in the first 20 minutes. If everything had been what it seemed--now, that would have been a stunning twist.
    • 52 Metascore
    • 30 David Edelstein
    Lost Highway, David Lynch's first movie in five years, is a virtuoso symphony of bad vibes.
    • 54 Metascore
    • 30 David Edelstein
    Exterminating Angels is meant as an autocritique--and yet the director can't get past his notion of himself as a fearlessly transgressive artist-hero, a martyr to the limitations of male gaze.
    • 36 Metascore
    • 30 David Edelstein
    The Canyons isn’t just bad, it’s rank — and it takes a peculiar sort of integrity to denude the frame of life to the point where it smells to heaven.
    • 41 Metascore
    • 30 David Edelstein
    Olympus Has Fallen is a disgusting piece of work, but it certainly hits its marks — it makes you sick with suspense.
    • 18 Metascore
    • 30 David Edelstein
    It has been a long time since I've heard people - many people - distinctly yell, "Boo!" Usually they just growl or moan or hiss. They don't bother actually to articulate the word "Boo!" I second their statement. The ending reeks.
    • 36 Metascore
    • 30 David Edelstein
    It underscores the gruesome legacy of Saturday Night Live in American movies...They haven't liberated screen comedy, they've left it neutered--or, should I say, Spade.
    • 51 Metascore
    • 30 David Edelstein
    Inexpressiveness is what separates the film from its models (chiefly Antonioni) and what makes it so exasperating.
    • 56 Metascore
    • 30 David Edelstein
    The premise is admittedly a killer--fun to think about, fun to see realized, not so fun to see screwed up in the last half-hour.
    • 62 Metascore
    • 30 David Edelstein
    As messy and flat-footed as its predecessor is nimble and shapely. It's an ugly, bloated, repetitive movie that builds to a punch line that should have come an hour earlier (at least).
    • 56 Metascore
    • 30 David Edelstein
    The whole movie is like that: showy stunts, explosions, over-the-top acting, fiesta colors, lurid angles, and a sense of nothing--nada--at stake.
    • 33 Metascore
    • 30 David Edelstein
    The new Annie musical starring Jamie Foxx and Quvenzhané Wallis is pretty bad, but let’s be honest: Despite some decent show tunes, the show was pretty bad to begin with, so it’s not worth getting all righteous about the dumb changes.
    • 20 Metascore
    • 30 David Edelstein
    At least Kudrow won't get the blame for Marci X: What really sinks the movie is Wayans.
    • 37 Metascore
    • 30 David Edelstein
    The movie, written and directed by Brian Klugman and Lee Sternthal, is desultory when it's not inept, but the set-up is so good that you can't help sticking it out to the (unforgivable) end.
    • 31 Metascore
    • 30 David Edelstein
    This mad prophet says it will die in a week.
    • 69 Metascore
    • 30 David Edelstein
    When a movie wrenches you with the deaths of children then leaves you with nothing to take home but your confusion, it can make you thirsty for the blood of directors.
    • 49 Metascore
    • 30 David Edelstein
    Much of K-Pax consists of Spacey grinning like Stevie Wonder behind sunglasses, -- taking dippy steps, and bobbing his head as if attached to an invisible Walkman.
    • 35 Metascore
    • 30 David Edelstein
    It's a mystery how such a hodgepodge, at once incoherent and overfamiliar, could have come together on screen.
    • 39 Metascore
    • 30 David Edelstein
    So sniggeringly one-sided that the picture has no tension.

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