David Edelstein

Select another critic »
For 1,836 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 2.6 points higher than other critics. (0-100 point scale)

David Edelstein's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Munich
Lowest review score: 0 The Amityville Horror
Score distribution:
1836 movie reviews
    • 94 Metascore
    • 90 David Edelstein
    The Hurt Locker might be the first Iraq-set film to break through to a mass audience because it doesn't lead with the paralysis of the guilt-ridden Yank. The horror is there, but under the rush.
    • 75 Metascore
    • 90 David Edelstein
    A brilliant study in the link between moral corruption and narcissism.
    • 85 Metascore
    • 90 David Edelstein
    The movie, a near-masterpiece, is a monument to intoxication: of sexual conquest, of military conquest, and, most of all, of cinema.
    • 76 Metascore
    • 90 David Edelstein
    The miracle of the movie is the Bolger sisters, who are so direct and matter-of-fact that they hardly seem to be acting. But their simplicity is radiant.
    • 85 Metascore
    • 90 David Edelstein
    The Savages is a delightful movie--the perfect companion piece (and antidote) to the year’s other superb convalescent-dementia picture, "Away From Her."
    • 95 Metascore
    • 90 David Edelstein
    What makes it so good is that no one is bad. These humans, desperate to do right, are caught up in a perfect storm of inhumanity. The evil is in the ecosystem.
    • 42 Metascore
    • 90 David Edelstein
    A grave screwball comedy. Its gags aren't just hilarious -- they have a weighty, plaintive soul.
    • 78 Metascore
    • 90 David Edelstein
    Shows the dying tremors of a generation, and you might feel as if you can see every molecule, every atom give up the ghost.
    • 83 Metascore
    • 90 David Edelstein
    Up in the Air is poised to be a smash, and Clooney--slim, dark, perfectly tailored--glamorizes insincerity in a way that makes you want to go out and lie.
    • 79 Metascore
    • 90 David Edelstein
    A marvelously nasty revenge comedy.
    • 81 Metascore
    • 90 David Edelstein
    Mike Mills's marvelously inventive romantic comedy Beginners is pickled in sadness, loss, and the belief that humans (especially when they mate) are stunted by their parents' buried secrets, their own genetic makeup, and our sometimes-sociopathic social norms.
    • 74 Metascore
    • 90 David Edelstein
    The film is phenomenally well directed by Kevin Macdonald and edited by Justine Wright to bring out every bit of scary volatility in the most casual interactions.
    • 78 Metascore
    • 90 David Edelstein
    In the end, the point of this ridiculous, arduous, oft-interrupted odyssey turns out to be elusive — and is all the richer for it.
    • 64 Metascore
    • 90 David Edelstein
    It takes about an hour after it's over for the heart to slow, the brain to recalibrate, and the nonsensicalness of the thing to sink in.
    • 79 Metascore
    • 90 David Edelstein
    Loyal assistant, Pepper Potts, isn't much of a part, but Gwyneth Paltrow is a presence. She stands around looking amused and flabbergastingly pretty, slinging wisecracks with serene aplomb.
    • 85 Metascore
    • 90 David Edelstein
    Soderbergh contrives the perfect voice for Leonard's prose--laid-back and grooving when it needs to be, but also taut, with the eerie foreboding of violence about to erupt.
    • 90 Metascore
    • 90 David Edelstein
    I’ve never seen a film that captures the inner world of an artist with such delicacy.
    • 82 Metascore
    • 90 David Edelstein
    One of the most inspired cases of the medium embodying the message ever captured on celluloid.
    • 94 Metascore
    • 90 David Edelstein
    The movie has momentously disturbing ideas but a fine grain, its images suitable for framing — or hiding away in the attic.
    • 71 Metascore
    • 90 David Edelstein
    As the ghouls evolve toward humanity and the humans toward ghouldom, we can appreciate Romero for using horror to show us How We Live Now, and How We're Living Dead now, too.
    • 70 Metascore
    • 90 David Edelstein
    The elements in A Walk on the Moon, which is directed by the actor Tony Goldwyn (the bad guy in "Ghost") and written by Pamela Gray, feel miraculously right.
    • 87 Metascore
    • 90 David Edelstein
    There’s an extended shot in Trey Edward Shults’s remarkable debut feature, Krisha, that’s a showstopper of bad vibes, a psycho-symphony that bumps the film to a different — more ominous — level of reality.
    • 75 Metascore
    • 90 David Edelstein
    Blessed is the go-for-it movie that can make room for dissonances and weirdness.
    • 82 Metascore
    • 90 David Edelstein
    Face/Off is such a blast that at times I forgot I was watching a John Woo movie.
    • 84 Metascore
    • 90 David Edelstein
    Caine makes Hampton's too-literary narration work by playing it as an inner dialogue: It's the best performance of narration I've ever heard. It makes you want to hear Caine read the whole book--or read anything.
    • 67 Metascore
    • 90 David Edelstein
    Rich, finely judged, gorgeously acted movie.
    • 83 Metascore
    • 90 David Edelstein
    Paranoid Park is a supernaturally perfect fusion of Van Sant’s current conceptual-art-project head-trip aesthetic and Blake Nelson’s finely tuned first-person “young adult” novel.
    • 94 Metascore
    • 90 David Edelstein
    Shot by shot, scene by scene, it's a fluid and enthralling piece of work. I wasn't bored for a millisecond.
    • 90 Metascore
    • 90 David Edelstein
    For all its wizardry, The Incredibles isn't among my favorite animated movies. Weirdly enough, I think of it, instead, as one of my favorite live-action superhero pictures.
    • 94 Metascore
    • 90 David Edelstein
    The German comedy Toni Erdmann makes the best case imaginable for the importance of tone.

Top Trailers