David Edelstein
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For 1,667 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 3.7 points higher than other critics. (0-100 point scale)

David Edelstein's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Metallica: Some Kind of Monster
Lowest review score: 0 Only God Forgives
Score distribution:
1,667 movie reviews
    • 50 Metascore
    • 30 David Edelstein
    Borderline incoherent, theologically unsatisfying, and short to the point of dwarfism on suspense.
    • 36 Metascore
    • 30 David Edelstein
    Michael Caton-Jones' pompous and coarsely stupid inflation of what remains a superior thriller, Fred Zinnemann's The Day of the Jackal (1973).
    • 53 Metascore
    • 30 David Edelstein
    A thesis movie, almost a manifesto for despair, and certainly worthy of the aforementioned NR-DS rating. Except that its bad vibes don't linger. Have dinner and smart conversation with friends, hug a child, pick up a good book--and poof, life returns with a happy vengeance.
    • 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.
    • 40 Metascore
    • 30 David Edelstein
    An overinflated B-movie with no grace, no subtext, no wit, and featuring beefcake/cheesecake actors who look like they've been plucked from the soaps.
    • 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.
    • 46 Metascore
    • 30 David Edelstein
    The acting in this movie is unusually bad--atrocious, even.
    • 62 Metascore
    • 30 David Edelstein
    A sour little psychodrama.
    • 36 Metascore
    • 20 David Edelstein
    There's only one surgery scene, but it's the heart (and kidneys) of Turistas. The rest -- especially the incoherent action -- falls well below the mark set by the last Americans Abroad torture-porn picture, "Hostel."
    • 38 Metascore
    • 20 David Edelstein
    In a vile-movie competition between Michael Haneke’s "Funny Games" and Vadim Perelman’s The Life Before Her Eyes, Haneke’s film would win--but only because he’s working so much harder to be noxious.
    • 37 Metascore
    • 20 David Edelstein
    Orgy, hell: The film is like a nightmare in which you're trapped in an arcade with screens on all sides and no eyelids. Based on an elemental but happily streamlined Japanese cartoon (an anime precursor), it's an eyesore, a shambles, with incoherent action and ear-buckling dialogue.
    • 34 Metascore
    • 20 David Edelstein
    You really have to screw it up to dishonor the memory of a movie as shitty as the original "Friday the 13th." Heads should roll.
    • 53 Metascore
    • 20 David Edelstein
    Ridley Scott’s Robin Hood is a pompous, interminable hash.
    • 50 Metascore
    • 20 David Edelstein
    He (Perry) has taken Shange's landmark poem cycle for seven African-American actresses, cut it up, and sewn its bloody entrails into a tawdry, masochistic soap opera that exponentially ups the "Precious" ante.
    • 46 Metascore
    • 20 David Edelstein
    Dr. Seuss's The Lorax [sic] isn't Seussian in spirit. It's shrill and campy and stuffed with superfluous characters.
    • 53 Metascore
    • 20 David Edelstein
    Sinister did something I thought would be impossible: It made this lifelong horror freak abhor horror movies.
    • 28 Metascore
    • 20 David Edelstein
    A Good Day to Die Hard is the opposite of a labor of love. It has no good lines, no crackerjack fights, and only one mildly orgasmic revenge killing. It will satisfy no one — high-, low-, or middlebrow. Die Hard is finally in its death throes.
    • 37 Metascore
    • 20 David Edelstein
    Appalling in ways that you could never have anticipated. The movie mixes mismatched-buddy high jinks with scenes of carnage.
    • 41 Metascore
    • 20 David Edelstein
    The carnage (with its computer-­generated splatter) is meant to be campy fun, but it’s so offhand that there’s less suspense than in an Austin Powers movie.
    • 36 Metascore
    • 20 David Edelstein
    Before I go into the grinding awfulness of Dumb and Dumber To, let’s get one damn thing straight: The original Dumb and Dumber is a clasick.
    • 27 Metascore
    • 20 David Edelstein
    In the end, we must lay the badness of Mortdecai at the feet of its star. I envy Depp’s capacity for self-amusement, but it’s a pity he’s so rich and enbubbled that no one dares say to say to him, “Er, Johnny ... this is, er, really very bad.”
    • 50 Metascore
    • 20 David Edelstein
    There’s only one good scene in True Story, though it’s the most flagrantly absurd.
    • 46 Metascore
    • 20 David Edelstein
    Profoundly unnecessary -- cluttered, padded even at 90 minutes, indifferently narrated by Anthony Hopkins, and consistently misdirected by Ron Howard.
    • 53 Metascore
    • 20 David Edelstein
    He (Annaud) doesn't have a clue how to dramatize the romance. Fiennes, whose eyes are extremely close together, stares with a mixture of rage and longing at Weisz, whose eyes are extremely far apart, and the film turns into "The Dating Game" designed by Picasso.
    • 47 Metascore
    • 20 David Edelstein
    The movie is one dead, overcomposed scene after another.
    • 57 Metascore
    • 20 David Edelstein
    Material so utterly conventional that you can predict every plot turn after the first half-hour.
    • 40 Metascore
    • 20 David Edelstein
    Yeah, they made a ton of junky movies in Hong Kong, but those were dazzlingly fluid and high-flying junky movies. This American retread has the same sort of hack plot but none of the bravura. It makes them look like monkeys, and not bulletproof ones.
    • 25 Metascore
    • 20 David Edelstein
    The script plays goofy games, stopping the action for Tarantino-style small talk; piling on alternate, "Rashomon"-style flashbacks; and divulging its characters' secrets in no particular order.
    • 59 Metascore
    • 20 David Edelstein
    Hordes of good actors evidently lined up to appear in Confidence, which wastes Weisz, Guzman, Logue, Forster, and Paul Giamatti, among others. Midway through, a grizzled Andy Garcia shambles in, chewing on a cigar, as an FBI agent; he's so fatuously hammy that his true narrative function is never in doubt.
    • 38 Metascore
    • 20 David Edelstein
    The movie is a big, noisy mess, with a howler at its center: Overrouged psychiatrist Michael Douglas.

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