David Edelstein
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For 1,624 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 3.8 points higher than other critics. (0-100 point scale)

David Edelstein's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Wallace & Gromit in The Curse of the Were-Rabbit
Lowest review score: 0 Battlefield Earth: A Saga of the Year 3000
Score distribution:
1,624 movie reviews
    • 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.
    • 35 Metascore
    • 30 David Edelstein
    The filmmakers have separated themselves from all the emotions of filmmaking except anger.
    • 43 Metascore
    • 30 David Edelstein
    There's no dramatic trajectory here at all.
    • 55 Metascore
    • 30 David Edelstein
    It's a schlock melodrama dolled up in arty frontier vestments.
    • 51 Metascore
    • 30 David Edelstein
    The film that Nicholas Hytner has directed (from a screenplay by the playwright Wendy Wasserstein) is slick, sweet, and disastrously unmoving -- even people who live to cry at the movies will find themselves depressingly dry-eyed.
    • 43 Metascore
    • 30 David Edelstein
    A melodrama in which the clichés prove more lethal than the bullets.
    • 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.
    • 31 Metascore
    • 30 David Edelstein
    This mad prophet says it will die in a week.
    • 39 Metascore
    • 30 David Edelstein
    So sniggeringly one-sided that the picture has no tension.
    • 41 Metascore
    • 30 David Edelstein
    I found the movie cheap, muddled, and thoroughly devoid of insight.
    • 90 Metascore
    • 30 David Edelstein
    Excruciatingly bad...Probably if Redux hadn't been acclaimed as a newly minted masterpiece, I wouldn't have felt so compelled to blow raspberries.
    • 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.
    • 36 Metascore
    • 30 David Edelstein
    Bizarrely depressing.
    • 37 Metascore
    • 30 David Edelstein
    The Hong Kong vet director, Ronny Yu, did a bang-up job in 1998 with "Bride of Chucky," but he can't do much for this one except keep it moving, light it scarily, and pump that plasma.
    • 66 Metascore
    • 30 David Edelstein
    Schrader is like a reformed addict who isn't even honest enough to show what once gave him pleasure. He's the most dangerous kind of crusader. In Auto Focus, he makes you hate sex and movies equally.
    • 30 Metascore
    • 30 David Edelstein
    And you wait--and wait--for the magic of movies.
    • 66 Metascore
    • 30 David Edelstein
    Ends up leaving you starved for a single moment of unhyped emotion. You can barely see the characters for Luhrmann screaming.
    • 20 Metascore
    • 30 David Edelstein
    At least Kudrow won't get the blame for Marci X: What really sinks the movie is Wayans.
    • 36 Metascore
    • 30 David Edelstein
    Emminently skippable.
    • 68 Metascore
    • 30 David Edelstein
    The performances are so terrible that it's hard to know whether Cronenberg wants to signal that much of what we're seeing isn't "real" or he has just forgotten how to write for hemoglobular flesh vessels--i.e., human beings.
    • 53 Metascore
    • 30 David Edelstein
    I wonder if anything could have made this misfire work.
    • 71 Metascore
    • 30 David Edelstein
    This is a movie that sends you out shuddering, chuckling nervously, wanting to tell the people in line for the next show, "It's the feel-bad movie of the year!"
    • 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.
    • 51 Metascore
    • 30 David Edelstein
    Inexpressiveness is what separates the film from its models (chiefly Antonioni) and what makes it so exasperating.
    • 52 Metascore
    • 30 David Edelstein
    This is an extraordinary -- and unfathomable -- piece of whitewashing: a true snow job.
    • 61 Metascore
    • 30 David Edelstein
    At times the movie's crudeness has an eerie beauty, but the musical fantasies are a bewildering hash, and the protracted climax on death row is nearly unendurable.
    • 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.
    • 70 Metascore
    • 30 David Edelstein
    As usual with Penn, I don't completely buy the character, but I completely buy that he has brilliantly internalized SOMETHING. He goes to some weird psychological places, our Sean.
    • 74 Metascore
    • 30 David Edelstein
    Psychologically thin, artistically flabby, and symbolically opaque.
    • 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).

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