David Edelstein
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For 1,631 reviews, this critic has graded:
  • 46% higher than the average critic
  • 2% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 3.9 points higher than other critics. (0-100 point scale)

David Edelstein's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Blackfish
Lowest review score: 0 Life Is Beautiful
Score distribution:
1,631 movie reviews
    • 49 Metascore
    • 30 David Edelstein
    Is Death of a President plausible? As political prognostication, perhaps. As a TV documentary, no way in hell. What's missing is shapeliness, suspense, narrative cunning, visual flair--in short, art. Are we really to believe that a network of the future would broadcast such a barbiturate?
    • 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.
    • 57 Metascore
    • 30 David Edelstein
    The movie is endless even at less than 90 minutes. You could use it, "A Clockwork Orange" style, as aversion therapy for seemingly incorrigible con artists.
    • 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.
    • 47 Metascore
    • 30 David Edelstein
    Boarding Gate was evidently made quickly and cheaply, and parts of it are fun. It’s too bad there’s no real viewer equivalent--that you can’t WATCH a film quickly and cheaply.
    • 17 Metascore
    • 30 David Edelstein
    Forget Pacino; it’s all those red herrings that reek.
    • 34 Metascore
    • 30 David Edelstein
    A high-toned revenge-of-nature horror picture, it's a little depressed, with only gross-out shocks (gushing jugulars, bodies run over by lawnmowers) to relieve the torpor.
    • 56 Metascore
    • 30 David Edelstein
    This kind of reverence kills what it seeks to preserve. The movie is embalmed.
    • 37 Metascore
    • 30 David Edelstein
    When Lee isn't doing cinematic somersaults or mining for injustice, he doesn't seem to know where to put the camera. The logistics of the plot make no sense, and he has nothing to sell but the theme of our common humanity--in which, on the evidence, I don't think he believes.
    • 47 Metascore
    • 30 David Edelstein
    Sam Rockwell strips himself down to pure appetite and has a buoyant spirit. But the film sure doesn't. It's bizarrely flat--it has no affect.
    • 63 Metascore
    • 30 David Edelstein
    It would be a horrific story even if underplayed, but Eastwood shoots it like a horror movie.
    • 38 Metascore
    • 30 David Edelstein
    There are a bunch of other clunky immigrant subplots (the Jews get a comic one, the Turks a scary one), but it isn't until the massacre–cum–civics tutorial in the liquor store that Crossing Over crosses into the mythic realm of camp. What a waste. I still say it's better than "Crash," though.
    • 40 Metascore
    • 30 David Edelstein
    Klaatu is a dream role for the beautifully blank Reeves, since he doesn’t even have to pretend to emote.
    • 38 Metascore
    • 30 David Edelstein
    If the movie didn't pander so madly to the audience for "Sex and the City" and "Legally Blonde," it might have been a comedy touchstone instead of a cringeworthy footnote.
    • 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.
    • 37 Metascore
    • 30 David Edelstein
    It’s all so glancing and superficial that the movie doesn’t seem to have a present tense. It goes by like coming attractions. It is, however, a treasury of bad biopic dialogue.
    • 49 Metascore
    • 30 David Edelstein
    Von Trier has said he wanted to make a genre horror picture, but he couldn’t even come up with a decent metaphor: The climax is out of a Grade C hack-’em-up with people chasing each other through the woods with axes and knives.
    • 82 Metascore
    • 30 David Edelstein
    Chill to the core, Haneke presents human cruelty not to make us empathize with the victims or understand the oppressors but to rub our noses in the crimes of our species. He thinks he’s held on to the subversive ideals of punk, but all I smell is skunk.
    • 39 Metascore
    • 30 David Edelstein
    It isn’t a train wreck--a train wreck would be memorable. What’s wrong is wrong by design.
    • 27 Metascore
    • 30 David Edelstein
    The most depressing thing about Sex and the City 2 is that it seems to justify every nasty thing said and written about the series and first feature film.
    • 50 Metascore
    • 30 David Edelstein
    No Strings Attached is so palpably calculated that you know if the camera had pulled back a foot from the bed in which Portman and Kutcher were pretending to have sex, you'd have seen their agents standing by beaming: proud parents, proud pimps.
    • 55 Metascore
    • 30 David Edelstein
    Amusing and annoying in the wrong ratio, maybe 30/70.
    • 45 Metascore
    • 30 David Edelstein
    I've never seen a film in which what was actually onscreen seemed so irrelevant.
    • 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.
    • 56 Metascore
    • 30 David Edelstein
    The Rum Diary has no mighty gonzo wind. Even with a push from its Thompson-worshipping star, Johnny Depp, it leaves our freak flag limp.
    • 71 Metascore
    • 30 David Edelstein
    The movie spreads bad vibes like a virus.
    • 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.
    • 47 Metascore
    • 30 David Edelstein
    Rock of Ages withholds nothing and makes miracles seem cheap.
    • 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.
    • 30 Metascore
    • 30 David Edelstein
    What a whorish film this is: Even the serial killer lectures the detective.

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