David Edelstein
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For 1,660 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 A Hard Day's Night (re-release)
Lowest review score: 0 Funny Games (2008)
Score distribution:
1,660 movie reviews
    • 71 Metascore
    • 70 David Edelstein
    The movie is very beautiful, with a shambling pace and slow fade-ins and fade-outs; and when it works there's a tension between its characters' scuffling small-talk and its majestically ruined rural setting.
    • 71 Metascore
    • 60 David Edelstein
    To work onscreen, Thank You for Smoking needed to be fast, scruffy, and offhand. But even the good lines here last a self-congratulatory beat too long. Aaron Eckhart is likable, but he's too hangdog and naturalistic for a part that could have used a brisk young Jack Lemmon type.
    • 71 Metascore
    • 60 David Edelstein
    At its best, 22 Jump Street is less an action comedy than a loosely plotted revue, and though it’s not as witty as either Joe Dante’s "Gremlins 2: The New Batch" or Edgar Wright’s "Hot Fuzz" (in which the directors evinced genuine love for their chosen genres), it’s sure as hell better than a straight buddy-cop sequel.
    • 71 Metascore
    • 60 David Edelstein
    The movie gets funnier and less obvious as it goes along, and Zooey Deschanel is a hoot as a disdainfully bored co-worker who ritually insults the zombie chain-store shoppers -- but what is The Good Girl saying, exactly?
    • 71 Metascore
    • 60 David Edelstein
    The glibness exhausts you, and the Coens are emotionally so far outside their subject that Intolerable Cruelty is finally no different from most of the other dumb slapstick spoofs that pass for screwball comedy these days.
    • 71 Metascore
    • 70 David Edelstein
    All over the map, but it's worth enduring the botched gags, formula plotting, and even the racism to marvel at the genius of Robert Downey Jr.
    • 71 Metascore
    • 70 David Edelstein
    The film is a canny balancing act, making Koch's arrogance so plain that you quickly move past it and concede that he accomplished remarkable things for a city that was broke and in chaos and with much of its housing stock in ruins.
    • 71 Metascore
    • 80 David Edelstein
    A minimalist exercise in maximalist suspense.
    • 71 Metascore
    • 70 David Edelstein
    What makes My Brother Is an Only Child so alive and entertaining is how it dramatizes the endless tug-of-war between political conviction and personal experience--the way the lines twist and blur and finally implode.
    • 71 Metascore
    • 70 David Edelstein
    It’s probably no great loss, but here and elsewhere the seams show. And in this sort of movie it’s often more fun before we get our bearings and have time to say, “This makes no sense.”
    • 71 Metascore
    • 30 David Edelstein
    The movie spreads bad vibes like a virus.
    • 71 Metascore
    • 70 David Edelstein
    Fitfully haunting and impressive: a little less loitery and opaque and it might have been a classic.
    • 71 Metascore
    • 60 David Edelstein
    An appropriately generic title for a droning, high-toned little heist picture with no dash and no raison d'être.
    • 71 Metascore
    • 70 David Edelstein
    All along we've known that the contest was a metaphor for getting your act together BEFORE taking it on the road.
    • 71 Metascore
    • 70 David Edelstein
    David Fincher's American remake of The Girl with the Dragon Tattoo adds nothing to the previous adaptation, but it's certainly the more evocative piece of filmmaking.
    • 71 Metascore
    • 70 David Edelstein
    Moment to moment, Sleepwalk With Me is smooth and very entertaining, but it's arrested somewhere between fiction and autobiography.
    • 71 Metascore
    • 80 David Edelstein
    For all the artfulness, the feel of the film is rough-hewn, almost primitive. It’s a fabulous tree house of a movie.
    • 71 Metascore
    • 50 David Edelstein
    There are times when Dafoe's accent strays into Billy Crystal Yiddish, but the notion of Vlad the Impaler aging into a finicky old Jew has its own kind of piquancy.
    • 71 Metascore
    • 50 David Edelstein
    It's too bad that halfway through, Collateral turns into a series of loud, chaotic, over-the-top action set pieces in which the existentialist Mann proves he's lousy at action.
    • 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!"
    • 71 Metascore
    • 70 David Edelstein
    Creepily entertaining.
    • 71 Metascore
    • 70 David Edelstein
    The movie is a passable entertainment -- call it The Half Monty.
    • 71 Metascore
    • 80 David Edelstein
    No wonder Hawke was so hot to pass the script onto Linklater. He's superb, by the way.
    • 71 Metascore
    • 80 David Edelstein
    I urge you not to pass up Black Book, especially on a wide screen. It's a marvelous movie-movie, with a new screen goddess. Van Houten has a soft, heart-shaped face on top of a body so naturally, ripely beautiful it has its own kind of truth.
    • 71 Metascore
    • 70 David Edelstein
    Like Crazy has a lively syntax and could, in an ungrateful mood, be tagged as slick. But Doremus gets the tempos right.
    • 71 Metascore
    • 80 David Edelstein
    Kohn’s gripping Manda Bala is the opposite of a high-school science doc. It’s a free-form portrait of a place--Brazil--with scary running motifs: kidnapping, mutilation, plastic surgery, bulletproofing, and frog farming.
    • 71 Metascore
    • 90 David Edelstein
    Outrageously entertaining.
    • 71 Metascore
    • 90 David Edelstein
    The smartest, funniest, and best-looking sci-fi comedy since the movies learned to morph.
    • 71 Metascore
    • 80 David Edelstein
    At its best, the movie evokes that blend of thrill and terror that comes from mixing two chemicals together without being sure that an instant later you'll still be standing there in one piece.
    • 70 Metascore
    • 70 David Edelstein
    The movie is satisfying, though -- at least by the standards of that depressing phenomenon, the superhero "franchise."
    • 70 Metascore
    • 90 David Edelstein
    Went down like a slice of warm pecan pie topped with two scoops of Ben and Jerry's Bovinity Divinity.
    • 70 Metascore
    • 90 David Edelstein
    A marvelous feat of re-imagination.
    • 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.
    • 70 Metascore
    • 80 David Edelstein
    What the film does have is coruscating anger, impish wit, and a breathtaking style.
    • 70 Metascore
    • 80 David Edelstein
    Transcends its murkiness and eats into the mind. Cure is what ails you.
    • 70 Metascore
    • 60 David Edelstein
    I’m not sure Morris clinches his case, but I’m not sure he wants to: His aim is to throw a monkey wrench into the cogs of our perception.
    • 70 Metascore
    • 80 David Edelstein
    I Love You, Man is totally formulaic, but the formula is unnervingly (and hilariously) inside out.
    • 70 Metascore
    • 80 David Edelstein
    A pungently funny and heartfelt piece of wish fulfillment.
    • 70 Metascore
    • 80 David Edelstein
    It's the work of an old master summing up. It sure feels that way. The screenwriter, Anne Rapp, has provided Altman with a blueprint not only for an ensemble comedy but also for a comedy that honors the very idea of an ensemble. It's no wonder Altman fell on it.
    • 70 Metascore
    • 60 David Edelstein
    Ozon devises tantalizing scenarios and immerses himself completely--then seems happy to tread water.
    • 70 Metascore
    • 80 David Edelstein
    Unexpectedly delectable.
    • 70 Metascore
    • 70 David Edelstein
    Beneath the expensive, computer-generated busyness of this second Captain America installment is a bracing, old-style conspiracy thriller made extra-scary by new technology and the increasingly ugly trade-offs of a post-9/11 world.
    • 70 Metascore
    • 80 David Edelstein
    Ought to have been an eye-roller. What a surprise that it's so seductive. The Woodman lives!
    • 70 Metascore
    • 70 David Edelstein
    Public Enemies has incidental pleasures (its hi-def video palette is fascinatingly weird), but it’s only Depp’s sense of fun that keeps it from being a period gangster museum piece.
    • 70 Metascore
    • 60 David Edelstein
    Attains a level of quiet grace. It's too bad that I can barely remember the movie after only a week. Nothing lasts, indeed.
    • 70 Metascore
    • 80 David Edelstein
    Belongs to that most promiscuous of genres -- the go-for-it sports melodrama -- but transcends it and then some.
    • 70 Metascore
    • 70 David Edelstein
    Thirteen has a way of smashing through your defenses. Hardwicke has goosed up the old melodramatic formula with a neorealist syntax and up-to-the-minute cultural nuances and violence.
    • 70 Metascore
    • 50 David Edelstein
    It's the only Almodóvar movie in which feeling, emotional or sexual, doesn't suffuse the imagery and hold the ramshackle melodrama together.
    • 70 Metascore
    • 50 David Edelstein
    The Science of Sleep transports you, but it strands you, too. Apart from the time-machine bit and two or three other daft exchanges, Gondry’s scenes tend to circle around the same drain: the hero’s insufferable narcissism.
    • 70 Metascore
    • 60 David Edelstein
    It's a daring and original effort, yet so noncommittal--so purposely vague--that it's apt to leave you flummoxed: at once stricken and etherized.
    • 70 Metascore
    • 10 David Edelstein
    I found it so oppressively smug that I had to get up and pace the aisles three or four times, and I'd have bolted if I hadn't been duty bound to stick it out.
    • 70 Metascore
    • 70 David Edelstein
    Honoré has proven you can make a movie musical in which style doesn’t upstage content--a movie musical that blossoms from the inside out.
    • 70 Metascore
    • 70 David Edelstein
    The movie is too long (nearly two hours), but the acting--Gere, Molina, the peerlessly edgy Hope Davis, Marcia Gay Harden as Irving's loopy Swiss-German painter wife--keeps you giggling. And the story has something up its sleeve--a dream finish.
    • 70 Metascore
    • 70 David Edelstein
    It's so exciting to have a perfectly sung and acted Tosca (Avatar) on film that I'm prepared to forgive the new movie, directed by Benoit Jacquot, almost everything. But I sure wish Jacquot hadn't bungled the look and feel.
    • 70 Metascore
    • 80 David Edelstein
    A truly unformulaic comedy of lust and greed, a farce that seems to write itself, slap-happily, as it goes along.
    • 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.
    • 70 Metascore
    • 50 David Edelstein
    As Brown becomes more flagrantly self-destructive and at the same time more deluded, you realize you're watching "Bad Lieutenant" made by a tediously finger-wagging Jew instead of a tediously desecrating Catholic.
    • 70 Metascore
    • 70 David Edelstein
    Like much of Soderbergh's recent work, Contagion feels a little sterile, more like a cinematic exercise than something with blood pumping through it. It's certainly high-minded - it might be the most high-minded disaster movie ever made.
    • 70 Metascore
    • 80 David Edelstein
    It's madly funny--a treat for moviegoers who don't mind gnawed-off limbs with their high jinks.
    • 70 Metascore
    • 80 David Edelstein
    If nothing else, Training Day is a gorgeous pedestal for Denzel Washington.
    • 70 Metascore
    • 70 David Edelstein
    Billy Bob Thornton's performance is--there's no other word--beautiful.
    • 70 Metascore
    • 70 David Edelstein
    It helps that Reilly is the opposite of a slob-comic. With his hangdog melancholy, he makes even the nonstop cunnilingus allusions poignant-the product of emotional longing.
    • 70 Metascore
    • 90 David Edelstein
    Downey found a way to channel his working-class audience’s anger against liberal shibboleths and not incidentally take down both his dad and his surrogate dad — Teddy ­Kennedy. It’s a ­riveting Oedipal tragedy.
    • 70 Metascore
    • 70 David Edelstein
    Often howlingly funny, and the actors are a treat. But the underlying message is so suspect that it’s hard to suspend disbelief.
    • 69 Metascore
    • 70 David Edelstein
    A jaw-dropper: a delirium-inducing crash course in international trash.
    • 69 Metascore
    • 50 David Edelstein
    The parents are the casualties of Mills' misplaced sincerity, which makes Thumbsucker the quintessential misadapted head-scratcher.
    • 69 Metascore
    • 80 David Edelstein
    Even more than his other genre mash-ups, this is a switchback journey through Tarantino’s twisted inner landscape, where cinema and history, misogyny and feminism, sadism and romanticism collide and split and re-bond in bizarre new hybrids. The movie is an ungainly pastiche, yet on some wacked-out Jungian level it’s all of a piece.
    • 69 Metascore
    • 50 David Edelstein
    In their last collaboration, "21 Grams," the director Alejandro González Iñárritu and screenwriter Guillermo Arriaga did syntactical acrobatics to disguise what a dreary and exploitive little soap opera they’d made. Their new movie, Babel, is more mysterious and less coherent.
    • 69 Metascore
    • 50 David Edelstein
    If there’s a sure thing in movies, it’s that if you cast Nicolas Cage in a role in which he goes crazy, he’ll rise to the occasion and keep on rising until he seems even loonier than his character.
    • 69 Metascore
    • 80 David Edelstein
    In addition to being fast, funny, and unpretentious, Brave is a happy antidote to all the recent films in which women triumph by besting men at their own macho games.
    • 69 Metascore
    • 50 David Edelstein
    It might even have been a landmark film about race relations had its aura of blunt realism not been dispelled by a toxic cloud of dramaturgical pixie dust.
    • 69 Metascore
    • 90 David Edelstein
    There isn't a banal moment in Winslet's performance--not a gesture, not a word. Is Winslet now the best English-speaking film actress of her generation? I think so.
    • 69 Metascore
    • 70 David Edelstein
    The most powerful aspect of this strange little movie is the sense that in an instant things could go very, very bad — even if they don’t. Palo Alto puts you on edge because it’s all dangerous corners.
    • 69 Metascore
    • 70 David Edelstein
    Howard manipulates audiences without guile, jerking tears, piling on catastrophes, smoothing out dissonances, making bad characters badder and good ones gooder--and clearly believing that this is wholesome. At what he does, he's peerless. I wish I had more respect for what he does--and for myself the next morning for surrendering.
    • 69 Metascore
    • 60 David Edelstein
    Duplicity is deeply shallow--cheap reversals all the way down. But it's a passably amusing brainteaser.
    • 69 Metascore
    • 70 David Edelstein
    The movie makes for a good old-fashioned wide-screen wallow. Norton isn’t remotely credible, but Toby Jones is dandy as a sleazeball with a core of decency, and Watts is so open, so soulfully petulant, so transcendentally pretty, that even Maugham might reconsider the pleasures of the flesh.
    • 69 Metascore
    • 70 David Edelstein
    Solondz conjures a world that's rotting away from the inside, in which only the children--freckle-faced Dylan Riley Snyder and Emma Hinz--weep over the loss of moral authority. This might be some kind of goddamned masterpiece, but I'm not sure I want to watch it again to say for sure.
    • 69 Metascore
    • 80 David Edelstein
    The Unknown Known is a worthy addition to Morris’s body of work, an epic search that demonstrates the limits of language, the ease of sidestepping truth.
    • 69 Metascore
    • 90 David Edelstein
    Even when you're able to guess the next calamity, it's still a shock in its ejaculatory intensity. The Farrellys never throw in the towel. Pretentious Sundance independents could learn a lot from such pistols.
    • 69 Metascore
    • 50 David Edelstein
    Sour and mostly feeble, with a depressingly curdled worldview. It bears no resemblance to Allen's surreal, open-ended comedies.
    • 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.
    • 69 Metascore
    • 100 David Edelstein
    The Avengers is both campy and ­reverential. Comic-Con nerds will have multiple orgasms. I had a blast.
    • 69 Metascore
    • 80 David Edelstein
    Venus in Fur is both kinky and can pass as a form of self-flagellation. One additional, not-small thing: It allows him to demonstrate, with a minimum of means, his superb craftsmanship.
    • 69 Metascore
    • 60 David Edelstein
    A feminist sitcom tricked up with garish violence and garrulous hit men.
    • 69 Metascore
    • 60 David Edelstein
    The Slums of Beverly Hills never gels, but it has a likable spirit, and it's exceedingly easy on the eye, with lots of pretty girls and wry evocations of '70s fashions and decor.
    • 69 Metascore
    • 50 David Edelstein
    The line between eeriness and tedium is fatally fluid.
    • 69 Metascore
    • 60 David Edelstein
    The movie says that the rebellious spirit that generates art can also consume and destroy -- that there's no undangerous way to ride the tiger.
    • 69 Metascore
    • 70 David Edelstein
    I’m only half-kidding when I suggest that you see the movie but leave (especially if you have kids) at what’s obviously the end of the first act. You’ll still get the dissonances, ambiguities, and portents of doom, along with much that is pure enchantment. And you won’t leave thinking the movie had been made by the Big Bad Wolf.
    • 69 Metascore
    • 70 David Edelstein
    Philip Seymour Hoffman carries the movie. As the CIA operative who hates Communists and his myopic superiors in equal measure, he has a wily, don’t-give-a-shit drive that makes you wish he’d been in Baghdad in 2003.
    • 69 Metascore
    • 80 David Edelstein
    If time-travel is your thing, you learn to shrug off inconsistencies. You debate chicken-egg questions over drinks or dope and mull over all the permutations. You graph it. You wish like hell you had a time machine. You savor every discombobulating, ludicrous, thrilling second of Predestination.
    • 69 Metascore
    • 70 David Edelstein
    Like his "Wendigo," the film has a lot of mumbo jumbo about ancient spirits revived and angered by human disrespect--the old Indian-graveyard paradigm, as clunky as ever. But the context is overpoweringly eerie.
    • 69 Metascore
    • 90 David Edelstein
    A hilarious, poignant, lovingly ironic celebration of (Tammy Faye Bakker's) rise and fall and her refusal to be broken.
    • 69 Metascore
    • 80 David Edelstein
    It’s smoothly written and smartly paced, and Michael Douglas is riveting.
    • 69 Metascore
    • 70 David Edelstein
    The film does, however, have the best weapon in the world against the perception of slickness: an actress without a smidgen of actressiness.
    • 69 Metascore
    • 70 David Edelstein
    It has a bad, slapstick first act but by midpoint becomes strangely compelling, tapping into the fantasy of reliving one's high-school years (which did a number on us all) and getting it right.
    • 69 Metascore
    • 70 David Edelstein
    So how's the Mamet "Rocky"? Fast. Lively. In your face. Very watchable. And, like its predecessors, so bizarrely convoluted it barely holds together on a narrative level. But the underpinnings are consistent.
    • 69 Metascore
    • 80 David Edelstein
    Exposed, abandoned, branded as traitors, the Wilsons finally have no choice but to tell their story, the latest chapter of which is this potent Hollywood melodrama.
    • 69 Metascore
    • 40 David Edelstein
    Most thriller writers don’t aim so high: You really have to grapple with Lehane’s vision to see how tiresome it is.
    • 69 Metascore
    • 60 David Edelstein
    Kill Bill is about nothing more (or less) than its director's passion for the mindless action pictures that got him through adolescence. It isn't sex without love: It's an orgy with just enough love.
    • 69 Metascore
    • 80 David Edelstein
    The movie has none of the smugness of "­American Beauty": You could dream of living in a world like this.
    • 69 Metascore
    • 50 David Edelstein
    The film is repetitive, top-heavy: Wright blows his wad too early. But a different lead might have kept you laughing and engaged.
    • 69 Metascore
    • 80 David Edelstein
    This one is alive with discoveries--of locations, characters, the actors who embody them, and even the medium. In The Go-Getter, filmmaking itself feels like Manifest Destiny.
    • 69 Metascore
    • 70 David Edelstein
    Operation Filmmaker doesn't quite shake out as a microcosm of the American-Iraq relationship, although Davenport cheekily toys with the conceit. But the movie is endlessly resonant.
    • 69 Metascore
    • 80 David Edelstein
    It takes some time to realize we're in a maelstrom--going down down down into a saga of obsession, sadism, masochism, and codependency that was and remains one of the great, sick tabloid stories of all time.
    • 69 Metascore
    • 80 David Edelstein
    Intimacy doesn’t answer the question, which makes it all the more tantalizing: This is an emotional puzzle movie.
    • 69 Metascore
    • 90 David Edelstein
    During the ghastly, surreal climax, I had fun closing one eye and with the other watching various ashen older men stumble toward the exit.
    • 69 Metascore
    • 80 David Edelstein
    It's an elegant, civilized, and deeply liberal piece of craftsmanship, with the sort of social conscience you rarely encounter in a modern American thriller.
    • 68 Metascore
    • 70 David Edelstein
    Neither movie (Capote/Infamous) gives you the whole picture, but it's fun to see them both and rearrange the pieces in your head.
    • 68 Metascore
    • 80 David Edelstein
    Powerful and then some.
    • 68 Metascore
    • 90 David Edelstein
    Gallo’s movie is terrific, an original and disarming vision of a life that's all skids.
    • 68 Metascore
    • 80 David Edelstein
    Breezy, brief, and often a howl.
    • 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.
    • 68 Metascore
    • 70 David Edelstein
    Becomes increasingly unwatchable -- not just bleak but punishing, as if the director wants to fry your circuits along with his characters'.
    • 68 Metascore
    • 70 David Edelstein
    Gibney does finally kick the focus off Abramoff to bemoan the legalized-bribery system that’s the rule, not the exception.
    • 68 Metascore
    • 70 David Edelstein
    As much of her (Steen) as there is, you'll want more.
    • 68 Metascore
    • 90 David Edelstein
    Doubt is still overpowering; it took me a while when it was over to stop shaking. It's the dramatist’s business to sow doubt, to set down points of view that can't be reconciled, and Shanley makes visceral the notion that one can be right but never absolutely right, that doubt might be our last, best hope.
    • 68 Metascore
    • 70 David Edelstein
    Pierrepoint is worth seeing for Shergold's attention to process and for all the ghoulish details.
    • 68 Metascore
    • 70 David Edelstein
    The script, by Dan Fogelman, is unusually and gratifyingly bisexual - i.e., it boasts scenes from both the male and female points of view!
    • 68 Metascore
    • 80 David Edelstein
    Apocalypto turns into the best "Rambo" movie ever made. The worrisome part is that Gibson doesn't think he's making a boneheaded action picture. For him, torture and vengeance are the way of the world. This is Gibsonian metaphysics.
    • 68 Metascore
    • 100 David Edelstein
    Everything he did in live-action movies with rolling boulders and runaway convoys he does bigger and better - by a factor of ten - in every frame. At the end of two hours, my jaw ached from grinning.
    • 68 Metascore
    • 80 David Edelstein
    The magnetic Alexander Skarsgard is the leader, Benji, a soft-spoken dreamboat, ever-direct but with a haunted quality, with something in reserve. Ellen Page gives a Lili Taylor–worthy performance (high praise) as a suspicious, abrasive young woman.
    • 68 Metascore
    • 80 David Edelstein
    Whatever this universe is, you're inside it, with your mouth open, wishing that all sporting events could be this exhilarating, that all human bodies could work this way, that all simpleminded movies could be this mindfully empty-headed.
    • 68 Metascore
    • 80 David Edelstein
    Gooses you even in its barren patches and gets fresher and funnier as it goes along. It builds to a shriekingly funny (and scary) revelation and a dénouement so brilliant it's almost demonic.
    • 68 Metascore
    • 50 David Edelstein
    Howard might be a major actor. His DJay, though, is a major character in search of a major author.
    • 68 Metascore
    • 80 David Edelstein
    The movie is a generic paranoid espionage fantasy, but its proportions are refreshingly correct. It moves quickly, adroitly, and without fuss.
    • 68 Metascore
    • 50 David Edelstein
    The story doesn’t feel dramatized. It feels pitched.
    • 68 Metascore
    • 80 David Edelstein
    It's probably easier for an ex-prosecutor known for macho threats to say he got caught screwing than for him to say he got screwed. But folks, he was reamed.
    • 68 Metascore
    • 80 David Edelstein
    My chief complaint is that these mutants are a little--well, vanilla. I wish the X-Men had a touch of kinkiness to go with their weird abilities.
    • 68 Metascore
    • 70 David Edelstein
    I’ve never seen a movie that so cunningly exploits our anticipation.
    • 68 Metascore
    • 70 David Edelstein
    As a onetime dramaturg and Brechtian, I enjoyed the chin-wags and the glimpses of Streep in rehearsal--especially her quivering admission that she can't bear the thought of anyone seeing her process.
    • 68 Metascore
    • 50 David Edelstein
    Directed by David Zellner from a script he wrote with his brother, Nathan, the film has its tender mercies, as well-meaning Minnesotans attempt to reach out to this preoccupied Japanese woman with almost no English.
    • 68 Metascore
    • 30 David Edelstein
    A somnolent load of wank.
    • 68 Metascore
    • 50 David Edelstein
    The segments are essentially monodramas, so sketchily written that the big moments feel less like recognizable human behavior than recognizable screenwriter overreaching.
    • 68 Metascore
    • 60 David Edelstein
    What a shock when George Lucas finds his footing and the saga once again takes hold.
    • 68 Metascore
    • 70 David Edelstein
    What makes Fracture hum is the way Hopkins bares his teeth, twitches his nostrils, and trains his shiny pinprick Lecter eyes on his co-star.
    • 68 Metascore
    • 50 David Edelstein
    It will resonate with anyone who has ever buried a loved one and struggled to reconcile the myriad emotions--grief, anger, helplessness. Which is to say, everyone. And yet out of this premise comes glop. Departures needed a little more work in the morgue--like cutting to the bone.
    • 68 Metascore
    • 80 David Edelstein
    A pandering, debased, generic little nothing of a movie. And I'm still trying to figure out why I loved it so inordinately.
    • 68 Metascore
    • 80 David Edelstein
    A sturdy piece of work, an old-fashioned conversion narrative with some high-tech zip.
    • 68 Metascore
    • 70 David Edelstein
    For these kids to sing and dance with all their hearts, they need to go to a place in themselves that should be closed down forever. The glories of War/Dance are torturously won, and all the more glorious for it.
    • 68 Metascore
    • 60 David Edelstein
    It’s Aronofsky’s least personal work. So you get a fat dose of conventional melodrama with your Old Testament: It’s the antediluvian "Gladiator."
    • 68 Metascore
    • 70 David Edelstein
    Page is softer than in "Hard Candy" and "Juno." Without Diablo Cody comebacks, she’s even more marvelous.
    • 68 Metascore
    • 70 David Edelstein
    Praying With Lior engages us on so many levels it transcends its middle-class Jewish milieu.
    • 68 Metascore
    • 70 David Edelstein
    It's on the verge of being really good...his narrative peters out without a decent payoff. It's a testament to the rage and anxieties that he has brilliantly tapped into that he can't get away with a subdued conflagration and a lame twist at the end.
    • 68 Metascore
    • 80 David Edelstein
    For all the movie's pixilated transitions, fisticuffs, and hyper-alert climaxes at the roulette table, there's a kind of temperamental evenness that's perfectly in sync with the protagonist.
    • 67 Metascore
    • 60 David Edelstein
    But even with bits that are crazily inspired, Forgetting Sarah Marshall is depressing. The Apatow Factory is too comfy with its workers’ arrested development to move the boundary posts. If they could find scripts by female writers that dramatize the other side of the Great Sexual Divide, it might be a place of joy--and embarrassed recognition--for everyone.
    • 67 Metascore
    • 50 David Edelstein
    Scene by scene his (David Gordon Green’s) new film, Snow Angels, isn’t terrible. Parts of it are amusing, and there are wintry images that eat into the mind. But it’s one of the most disjunctive things I’ve ever sat through.
    • 67 Metascore
    • 70 David Edelstein
    Robot & Frank, like its protagonist, is charming enough to get by with the sleight-of-hand. Its irresponsibility redeems it - it's a raspberry blown against the dying of the light.
    • 67 Metascore
    • 50 David Edelstein
    For In Bruges to click, McDonagh needed either to get more real or more fake.
    • 67 Metascore
    • 40 David Edelstein
    It's heartbreaking how rich this failed project is, with enough poetry for several great movies, but not enough push for one.
    • 67 Metascore
    • 80 David Edelstein
    As Bolt, John Travolta is inspired: His voice still cracks like an adolescent’s, and he has the perfect dopey innocence.
    • 67 Metascore
    • 50 David Edelstein
    Some of that fun is infectious. For a while. Maybe 45 minutes. But when actors look as if they’re having a better time than you are, the buzz wears off fast. You turn into a wallflower at an especially obnoxious party.
    • 67 Metascore
    • 70 David Edelstein
    Bridges has evolved into a miraculous actor: one who signals wildness through the intensity of his containment.
    • 67 Metascore
    • 70 David Edelstein
    Batmanglij keeps the movie even-keeled, full of medium close-ups, underscored by ambient plinks and shimmers, with nothing to break the trance until a last scene that upends everything we thought we knew.
    • 67 Metascore
    • 70 David Edelstein
    It has vivid characters, a strong sense of place, and a free-floating hopelessness that never precludes the possibility of meaningful action.
    • 67 Metascore
    • 70 David Edelstein
    The movie is diverting enough -- it's good fun -- but much of the genius is gone with the wind.
    • 67 Metascore
    • 60 David Edelstein
    Spike Lee is a virtuoso filmmaker, a wizard at selling a sequence, but he'll never make an entirely coherent movie until he learns to go deeper into his subjects instead of wider with them.
    • 67 Metascore
    • 50 David Edelstein
    At its best, 25th Hour is a melancholy tone poem -- But the movie is also muddled by its own ambitions. There is simply no connection between the themes of Benioff's screenplay and 9/11, and every time Lee over-inflates the story, he loses its real pulse.
    • 67 Metascore
    • 50 David Edelstein
    It delighted me; it disgusted me. I celebrate it; I lament it. I'm sure of only one thing: that I don't trust anyone--pro or con--who doesn't feel a twinge of doubt about his or her responses.
    • 67 Metascore
    • 70 David Edelstein
    The chronology is confusing at times, but the film is never not fascinating.
    • 67 Metascore
    • 60 David Edelstein
    The movie should be seen with a large, responsive audience--the better to live with it in the moment instead of worrying about where it’s going.
    • 67 Metascore
    • 80 David Edelstein
    An extraordinarily potent brew.
    • 67 Metascore
    • 50 David Edelstein
    Am I the only one who finds the substance of this movie repulsive?
    • 67 Metascore
    • 70 David Edelstein
    Soderbergh tends to get one big idea - a thesis idea - per film and stick with it even when a touch more flexibility would help. Here it's that non-kinetic camera, which he's so wedded to that parts of the film seem underenergized, like a cheap seventies or early eighties picture you'd catch at two in the morning on Cinemax's tenth most popular channel.
    • 67 Metascore
    • 70 David Edelstein
    I was happy watching these actors, happy going behind the scenes of a sober classical music ensemble instead of another druggy rock group, happy hearing Beethoven for a couple of hours. The movie is haut-bourgeois to the bone, but so am I: Let's hear some chamber music and have a little laugh and a cry!
    • 67 Metascore
    • 50 David Edelstein
    It has a gritty feel and a tight, methodical, one-thing-after-another tempo.
    • 67 Metascore
    • 80 David Edelstein
    Private Parts is so riotous that you almost don't remember how unfunny Stern can be on his radio show.
    • 67 Metascore
    • 50 David Edelstein
    Watching The Hunger Games, I was struck both by how slickly Ross hit his marks and how many opportunities he was missing to take the film to the next level - to make it more shocking, lyrical, crazy, daring.
    • 67 Metascore
    • 40 David Edelstein
    It's tempting to praise The Ides of March as a realistic depiction of how low we've sunk. But that would mean accepting the second-rate writing and third-rate melodrama and incredible shrinking characters.
    • 67 Metascore
    • 80 David Edelstein
    That's the feeling Stephen Chbosky captures in The Perks of Being a Wallflower, his exquisite adaptation of his best-selling YA novel about a Pittsburgh high-school freshman who doesn't fit in and then all of a sudden does, for a spell.
    • 67 Metascore
    • 90 David Edelstein
    Gregory and Demme have turned A Master Builder into (pardon my invoking the name of a Strindberg work) a dream play, and have made it once more madly, bitingly, chillingly alive.
    • 67 Metascore
    • 40 David Edelstein
    Say this for actors: Too self-centered to be embarrassed, they can be existential heroes of a (moronic) sort.
    • 67 Metascore
    • 70 David Edelstein
    It goes soft, but even a gelded traditional farce is more potent than most of our slob comedies.
    • 67 Metascore
    • 80 David Edelstein
    Think "In the Mood for Love" with hookahs instead of chopsticks.
    • 67 Metascore
    • 70 David Edelstein
    Stillman's comeback comedy Damsels in Distress is wobbly and borderline twee, but it deepens as it goes along and becomes rich.
    • 67 Metascore
    • 50 David Edelstein
    Hit and miss, but its tone of lyric melancholy is remarkably sustained.
    • 67 Metascore
    • 90 David Edelstein
    Rich, finely judged, gorgeously acted movie.
    • 67 Metascore
    • 50 David Edelstein
    I suppose it's too much to expect Pirandellian stature from the madness of Chuck Barris -- but that's about the only thing that would have made this mixed-up ego trip work.
    • 67 Metascore
    • 90 David Edelstein
    Please don’t bore me by complaining that the characters are “unlikable.” The defense admits that the movie is indefensible. Just breathe in the aroma of decay and howl like a banshee.
    • 67 Metascore
    • 70 David Edelstein
    Furious 7 kicks the biggest and hardest, but it’s far from the best. Lin has handed the keys to James Wan, the cunning horror director of "Saw" and "The Conjuring," and though the thrill isn’t gone, the finesse is.
    • 67 Metascore
    • 70 David Edelstein
    This is a mood piece, shapeless but often lyric.
    • 67 Metascore
    • 60 David Edelstein
    This could be the premise of a zany comedy, but the mood of The Future is, from the outset, defeatist - annoyingly defeatist, to be frank.
    • 67 Metascore
    • 50 David Edelstein
    It's a great metaphor - but not a great movie. Jonathan Dayton and Valerie Faris direct in a drably naturalistic style, and the script is thin.
    • 67 Metascore
    • 80 David Edelstein
    The final twist is both baffling and repulsive, but as an evocation of the triumph of evil, it's peerless.
    • 66 Metascore
    • 70 David Edelstein
    The depressing subtext is that even with detailed proof of ongoing genocide, it takes movie stars to get to the movers and shakers, and to get worthy movies like this one into theaters.
    • 66 Metascore
    • 50 David Edelstein
    Working in a mini-genre whose bones would appear to have been picked clean by the likes of Kevin Williamson and Wes Craven, Glosserman and Stieve find a few pints of fresh blood.
    • 66 Metascore
    • 70 David Edelstein
    It manages to be funny and charming while capturing a lot of disturbing things about the way we live now.
    • 66 Metascore
    • 50 David Edelstein
    The villain comes back more times than Wile E. Coyote. I found it tiresome and witless and numbingly repetitive, but action mavens won't feel cheated.
    • 66 Metascore
    • 70 David Edelstein
    Julie & Julia is full of holes, but you don't even care when Streep is onscreen.
    • 66 Metascore
    • 70 David Edelstein
    I love Nicholson here because he lets Keaton take the movie--and his relative reticence is very attractive.
    • 66 Metascore
    • 40 David Edelstein
    Most of the dialogue is listless, and no matter how much Soderbergh snips and stitches, the movie is a corpse with twitching limbs.
    • 66 Metascore
    • 70 David Edelstein
    Compared with other first-person motion-sickness horror pictures like "The Blair Witch Project" and "Cloverfield," George A. Romero’s Diary of the Dead is weak tea, yet there’s enough social commentary (and innovative splatter) to acidulate the brew--to remind you that Romero, even behind the curve, makes other genre filmmakers look like fraidy-cats.
    • 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.
    • 66 Metascore
    • 80 David Edelstein
    A brainy weave of satire and fantasy.
    • 66 Metascore
    • 90 David Edelstein
    You could never call Solondz a humanist, but he achieves something I've never seen elsewhere: compassionate revulsion.
    • 66 Metascore
    • 80 David Edelstein
    The Angels’ Share is a rare upbeat Ken Loach comedy — and a wee dram of bliss. Set in Scotland, it has a blessedly funny overture.
    • 66 Metascore
    • 70 David Edelstein
    Sam Rockwell kills as the hero's loony tunes best friend, deliciously abetted by Christopher Walken as an aging, sad-sack dognapper.
    • 66 Metascore
    • 90 David Edelstein
    The movie is gorgeous, mesmerizing, poetic; the lyricism actually heightened by harsh jets of gore.
    • 66 Metascore
    • 70 David Edelstein
    Pecker is a breezy, agreeable picture--a charmer, thumbs-up, three stars--but there's something disappointing about a John Waters film that's so evenhanded and all-embracing, even if its sunniness is "ironic."
    • 66 Metascore
    • 70 David Edelstein
    Apart from scenes with Leslie Mann as a mother who propagates the wisdom of The Secret (she’d be too heavy-handed for a Disney Channel sitcom), The Bling Ring is enjoyable. And it’s always easy on the eyes.
    • 66 Metascore
    • 40 David Edelstein
    This is yet another of Soderbergh’s “exercises in style,” which means he has one big idea and sticks to it. He makes the space shallow and ugly (faces are bathed in orange) and adds groovy sixties titles and Marvin Hamlisch music.
    • 66 Metascore
    • 70 David Edelstein
    The movie is a broad ethnic comedy, but there’s nothing broad about the wicked-smart way it’s executed.
    • 66 Metascore
    • 30 David Edelstein
    The laborious title of an even more laborious Cockney action movie that some people think is the cat's pajamas crossbred with the bee's knees.
    • 66 Metascore
    • 60 David Edelstein
    The movie isn't unwatchable. It's clumsily good-natured, the actors are appealing, and there are worse ways to spend two hours than looking at pretty young girls in shorts kicking balls. But the movie is way, way too pleased with itself.
    • 66 Metascore
    • 50 David Edelstein
    The tit-for-tat scenario ought to be wildly entertaining, but the magic is crude, the characters flyweight, and the story protracted and unpleasant.
    • 66 Metascore
    • 70 David Edelstein
    It's surprising that The Greatest Movie Ever Sold plays so entertainingly, given that Spurlock's quest is essentially beside the point.
    • 66 Metascore
    • 50 David Edelstein
    A spare, melancholy film that is so far in spirit from its source, Philip Roth's "The Dying Animal."
    • 66 Metascore
    • 60 David Edelstein
    It’s puffed up in obvious ways but disarmingly puckish in others. As that capering pirate, De Niro is god-awful--yet his gung-ho spirit wins him Brownie points.
    • 66 Metascore
    • 70 David Edelstein
    This is not a movie to see if you're contemplating tying the knot; it's a hard slog for those of us already entwined.
    • 66 Metascore
    • 60 David Edelstein
    The movie does get under your skin (the tremulous misfit girl, Hannah, might be a breakout role model), but the way it has been put together reminds me of those animal shows where the crew nudges the gazelles in the direction of the lions with multiple cameras standing by.
    • 66 Metascore
    • 60 David Edelstein
    Margot at the Wedding doesn’t develop; it just skips from one squirmy scene to the next.
    • 66 Metascore
    • 70 David Edelstein
    Kick-Ass is a compendium of all sleazy things, and it sings like a siren to our inner Tarantinos.
    • 66 Metascore
    • 70 David Edelstein
    Farce born of sadly irreconcilable impulses: Bravo!
    • 66 Metascore
    • 70 David Edelstein
    I fear that the cozy domestic ending will leave audiences disappointed, convinced that they've seen something smaller and less momentous than they have.
    • 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.
    • 66 Metascore
    • 60 David Edelstein
    As in his pithy, tuneful songs-many written from different perspectives, in different styles-Merritt is committed to stylizing his misery instead of boring you with it.
    • 66 Metascore
    • 60 David Edelstein
    She lip-syncs convincingly to Piaf's songs. Even when she overacts like mad, she makes you think she’s Piaf overacting like mad--the little sparrow with the foghorn pipes.
    • 66 Metascore
    • 70 David Edelstein
    Crudely ­powerful. You can object to the thuggish direction and the script that’s a series of signposts, but not the central idea, which is genuinely illuminating.
    • 66 Metascore
    • 80 David Edelstein
    Premium Rush is that rare bird: a chase picture that's just a chase picture - and a dandy one.
    • 66 Metascore
    • 80 David Edelstein
    With an actor as great as Gene Hackman in the lead, a lot of scenes even breathe.
    • 66 Metascore
    • 70 David Edelstein
    Quite likable -- even sometimes, with the squeezable Zellweger its principal object, lovable.
    • 66 Metascore
    • 70 David Edelstein
    I like my SpongeBob a little less lumbering, a little more free-associational, without that big, heavy anchor of a story structure to weigh him down.
    • 66 Metascore
    • 80 David Edelstein
    hilarious, sometimes rueful, and strangely hip documentary.
    • 66 Metascore
    • 80 David Edelstein
    It’s Moss who takes the film to a higher, scarier level. After years of playing Peggy Olson on "Mad Men", she knows how to smile and nod and say one thing while obviously meaning the exact opposite, and when at last she unleashes the truth, it’s with demonic intensity. She turns subtext into horror-poetry.
    • 66 Metascore
    • 50 David Edelstein
    The movie becomes more and more lugubrious, finally ending on a note of high-tragic operatic bathos.
    • 66 Metascore
    • 80 David Edelstein
    Fey's comic gifts mesh with Wiseman's first-hand research, and the wit becomes dazzling.
    • 66 Metascore
    • 70 David Edelstein
    I've saved the best for last: The love interest played by that throaty redheaded (here blonde) darling Emma Stone, whose blue eyes radiate so much intelligence that any actor on whom she trains them in adoration becomes an instant movie star.
    • 66 Metascore
    • 70 David Edelstein
    She has the perfect nervy, nerdy, needy alter ego in Anna Kendrick.
    • 66 Metascore
    • 70 David Edelstein
    The movie gives off a stranger vibe. Beavan is both a hero and a figure of fun, a man whose ideals are in constant collision with the habits of modern life.
    • 65 Metascore
    • 50 David Edelstein
    Streep and Jones make themselves small: She's chirpy; he's crusty. Incessant pop standards on the soundtrack supply the emotion the director can't. All that's missing are commercials for estrogen cream and erectile-dysfunction meds.
    • 65 Metascore
    • 70 David Edelstein
    Although Catfish is opportunistic, even borderline exploitive, it gets at-by indirection, through the back door-the magic-carpet aspect of this scary new medium. Real people are so complicated and irreducible, you know?
    • 65 Metascore
    • 80 David Edelstein
    The first two thirds and change of I Am Legend is terrific mindless fun: crackerjack action with gnashing vampires barely glimpsed (and scarier for that) and how’d-they-do-that New York locations that retroactively justify the traffic jams.
    • 65 Metascore
    • 80 David Edelstein
    Essentially a solemn, splintered meditation on lost love: a movie about personal space, in space.
    • 65 Metascore
    • 50 David Edelstein
    Despite glimmers of wit and a hipper-than-thou cast, it's painstakingly smug, and smaller than the sum of its parts.
    • 65 Metascore
    • 80 David Edelstein
    In Married Life, Ira Sachs aims a bit lower than Green but obliterates his target: The funny, the scary, the campy, the sad--they’re all splendidly of a piece.
    • 65 Metascore
    • 60 David Edelstein
    Occasionally dissonant, but it's remarkably cleareyed.
    • 65 Metascore
    • 60 David Edelstein
    Closer is in the same arena as Labute, and I found it sour and airless, with the feel of a mathematical proof. The acting is superb, though, with one key exception. Jude Law.
    • 65 Metascore
    • 60 David Edelstein
    The decomposition of the soul is the goal of a Stasi incarceration, the promised end for an enemy of the state, and there is something about the movie’s pacing--the silences, the drone of the narration ("The name of your enemy is hope?…?")--that wears you down.
    • 65 Metascore
    • 70 David Edelstein
    As a narrative, it’s clunky. As a whodunit, it’s third-rate. As the drama of a closed-off man’s awakening, it’s predictable. But Haggis has got hold of a fiercely urgent subject: the moral devastation of American soldiers serving in (and coming home from) Iraq. At its heart are deeper mysteries--and a tragedy that reaches far beyond anything onscreen.
    • 65 Metascore
    • 60 David Edelstein
    The prolific Patrice Leconte takes a break from mythic, life-and-death scenarios with My Best Friend, a sitcom that threatens to take a rockier emotional path before swerving back into the comfy zone. It’s better when it’s threatening, but Leconte knows his audience.
    • 65 Metascore
    • 70 David Edelstein
    Haynes sets out to demonstrate the power of popular music to change people's lives--to tell them it's OK to fashion themselves into anything they please.
    • 65 Metascore
    • 70 David Edelstein
    A glancing, disjointed little movie that captures as well as any film I've seen the mind-expanding mojo of rock and roll at the dawn of the counterculture - particularly rhythm-and-blues-oriented rock, particularly the Rolling Stones, the group that synthesized R&B and made it commercial.
    • 65 Metascore
    • 60 David Edelstein
    Scene by scene, Jindabyne has dramatic force, but it's an awfully long slog. Carver's smartest tactic was never outstaying his welcome.
    • 65 Metascore
    • 70 David Edelstein
    It's deftly calibrated and acted with relish: Kasdan is really good!
    • 65 Metascore
    • 50 David Edelstein
    What's a shock is the crudeness with which Spielberg fills the scenario in -- how he neuters his protagonist and short-circuits the inner workings of his human characters.
    • 65 Metascore
    • 50 David Edelstein
    In patches it's agreeably lurid, but it's otherwise ho-hum.
    • 65 Metascore
    • 60 David Edelstein
    Sutton finds the lyrical tension in torpor; he shows how Willis’s artistic vacuum isn’t a passive thing, how it eats into him, how it even permeates the natural world.
    • 65 Metascore
    • 70 David Edelstein
    This is one of the most immediate, personal costume dramas ever made, and so it's not unseemly to consider how the writer-director and her heroine overlap.
    • 65 Metascore
    • 50 David Edelstein
    No mainstream filmmaker since Orson Welles can touch Steven Spielberg when it comes to camera movement and composition--or, more precisely, to composition that gets more vivid as the camera moves...It's the work of a man with film storytelling in his blood. What a bummer when the story he has to tell is a cosmic nothing.
    • 65 Metascore
    • 80 David Edelstein
    Battle for Haditha has some of the raw energy of Sam Fuller's war pictures, which weren't subtle but left you energized by their ambivalence (there was no good or evil). It's a hell of a picture.
    • 65 Metascore
    • 80 David Edelstein
    A senseless blast.
    • 65 Metascore
    • 80 David Edelstein
    That lawn with its scraps of a ruined life is a setting both satirical and poignant, and Will Ferrell gives a performance of Chekhovian depth.
    • 65 Metascore
    • 70 David Edelstein
    Michael Apted's Amazing Grace is a beautifully chiseled blunt instrument. No, it's not subtle, but how subtle was slavery?
    • 65 Metascore
    • 80 David Edelstein
    One of those half-straight, half-spoof comic-book extravaganzas that don't ever work, and what's neat is that this one does--beautifully.
    • 65 Metascore
    • 70 David Edelstein
    A religious conspiracy disguised as a romance.
    • 65 Metascore
    • 30 David Edelstein
    A fair number of people have responded with tears and laughs to Saving Mr. Banks, but I found it interminable.
    • 65 Metascore
    • 80 David Edelstein
    It's hard to do justice to Hawkins's acting, because you never actually see it: Her Rita simply is.
    • 65 Metascore
    • 80 David Edelstein
    James Scurlock's documentary Maxed Out, tells the bone-chilling, bloodcurdling, hair-raising story of a country (guess which one?) that's up to its eyeballs in credit-card debt.
    • 65 Metascore
    • 60 David Edelstein
    Panic Room is fluidly made, and it keeps the audience quiet and unpleasantly gripped. But the only surprise is the absence of surprise; that trap is in too-plain view.
    • 65 Metascore
    • 80 David Edelstein
    True Crime gives you sleaze on toast--a heap of tabloid bathos, a dusting of high-mindedness, a dash of gallows humor. It's a bizarre concoction, but it's riveting.
    • 65 Metascore
    • 80 David Edelstein
    Wholly unnecessary but highly enjoyable.
    • 65 Metascore
    • 70 David Edelstein
    What makes Alice Wu's debut so pleasurable is its easy rhythms, its sly juxtapositions, and its relaxed but funny performances.
    • 65 Metascore
    • 90 David Edelstein
    The ensemble is stupendous--howlingly great--and the music goes deep.
    • 65 Metascore
    • 70 David Edelstein
    It's a different sort of experience: a stately, somewhat plodding but endurable science-fiction saga.
    • 65 Metascore
    • 70 David Edelstein
    Surprisingly intimate and nuanced.
    • 65 Metascore
    • 60 David Edelstein
    A ferocious yet lyrical piece of filmmaking--an enchanted bloodbath.
    • 65 Metascore
    • 70 David Edelstein
    The most effective counterweight to Polanski's fatalism is young Barney Clark, whose Oliver--although given to few words--is unshakably alive and responsive, even as he's being buffeted violently by forces beyond his control.
    • 65 Metascore
    • 70 David Edelstein
    Yes, this farrago of fairy tale and sci-fi conspiracy flick is, on one level, howlingly obvious. But there are howls of derision and howls of amazement, and mine were of the latter kind, mostly.
    • 65 Metascore
    • 80 David Edelstein
    A fascinatingly strange and chaotic ballet set to familiar noir motifs.
    • 65 Metascore
    • 70 David Edelstein
    It's square, stiff, and in places cheesy; it's also authentically harrowing -- and blood-showered, blood-drowned.
    • 65 Metascore
    • 50 David Edelstein
    I hope that in Part 2, Yates and screenwriter Steve Kloves give Fiennes a better send-off than Dame J.K. did in her less-than-wizardly climactic wandathon. Having made us sit through two and a half hours with no payoff, they'd better not go all Muggle on us. Next time, we want magic, people.
    • 65 Metascore
    • 50 David Edelstein
    Bier dramatizes our ambivalence so earnestly that it's tempting to give her awards rather than admit that the movie is a crushing bore.
    • 64 Metascore
    • 70 David Edelstein
    It’s overbaked art-pulp. You’re always thinking, What fresh horror is around the next bend?
    • 64 Metascore
    • 80 David Edelstein
    A giddy ballet in which the women whirl around a still, clueless man.
    • 64 Metascore
    • 70 David Edelstein
    Napoleon Dynamite is too low-wattage to be a true nerd anthem, but it's charming in retrospect.
    • 64 Metascore
    • 90 David Edelstein
    I’ve sat through so many claustrophobic examples of the genre I forgot how exhilarating, how pure a great one could be. Interview is a great one--electric as theater and cinema.
    • 64 Metascore
    • 70 David Edelstein
    They’ve taken "2001" and Tarkovsky’s "Solaris" and "Silent Running," mixed in stuff from save-the-earth pictures like "The Core" and "Deep Impact," and thrown in a cheesy climax out of "Alien."
    • 64 Metascore
    • 70 David Edelstein
    Mother and Child is suffused with grief and loss. It’s also suffused with compassion and insight.
    • 64 Metascore
    • 50 David Edelstein
    Pacific Rim made me marvel at the technology of movies, but never the magic of them.
    • 64 Metascore
    • 70 David Edelstein
    You have to give credit to Frailty for jiggering up the formula a bit, so that what starts as an ominously low-key study of a boy coming of age with a mad father escalates into a combination of "The Texas Chainsaw Massacre" and "Breaking the Waves" -- Grand Guignol religiosity.
    • 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.
    • 64 Metascore
    • 50 David Edelstein
    At one point, Van Damme delivers a long, tortured soliloquy about his alienating stardom to the camera in a single take. It's the most amazing piece of acting I've ever seen by a martial artist. But the film itself doesn't rise above the level of a good try.
    • 64 Metascore
    • 70 David Edelstein
    A poky but blood-freezing throwback to the gothic horror films of the seventies, when ingénues moved tremulously down dark corridors without holding digital video cameras.
    • 64 Metascore
    • 40 David Edelstein
    The film is visually worked out to within an inch of its life, but after 15 minutes you can see where it's going, and along the way there are no surprises.
    • 64 Metascore
    • 80 David Edelstein
    Everything we love about biblical-movie kitsch is here, only concentrated and heightened.
    • 64 Metascore
    • 70 David Edelstein
    It's formulaic, but it sticks to a classic Western formula instead of a cartoonish blockbuster one.
    • 64 Metascore
    • 70 David Edelstein
    Conrad's last film, the underrated "The Weather Man," was a parade of miseries, too, but the protagonist (Nicolas Cage) didn’t move very fast in the throes of his existential crisis, and the palette (it was Chicago in winter) was glacial. Here, those crazy San Francisco hills give the movie a lift, and Muccino frames it all airily, with a glancing touch.
    • 64 Metascore
    • 50 David Edelstein
    Avenue Montaigne would be difficult to stomach if it weren't so light and uninsistent, and if its actors weren't so charming. I still rolled my eyes--but sometimes I do that when I get a really good croissant.
    • 64 Metascore
    • 70 David Edelstein
    Ultimately, it has less in common with "Blair Witch" than with such quivering lumps of sentiment as "Ghost" and Field of Dreams."
    • 64 Metascore
    • 50 David Edelstein
    Che
    Che is an impressive physical feat, but especially in the second part, which gives you day after day of rebels being killed and indigenous poor people not joining the good fight, you start to look forward to Che getting riddled by bullets. The whole movie is a forced march.
    • 64 Metascore
    • 80 David Edelstein
    The movie ends abruptly-too abruptly for my taste-but the gaiety lingers through the closing credits. Not even apocalypse can dispel the sexy vibes.
    • 64 Metascore
    • 40 David Edelstein
    Gladiator's combination of grim sanctimony and drenching, Dolby-ized dismemberings left me appalled.
    • 64 Metascore
    • 80 David Edelstein
    Living Out Loud becomes an ode to openness, to letting in everything that the world throws at you.
    • 64 Metascore
    • 70 David Edelstein
    Nearly perfect for what it is.
    • 64 Metascore
    • 40 David Edelstein
    Suicidally insecure.
    • 64 Metascore
    • 80 David Edelstein
    I laughed all the way through Team America: Scene by scene, it's uproarious.
    • 64 Metascore
    • 70 David Edelstein
    He's [Pitt] not particularly inventive - with his appraising eyes and a toothpick in his mouth, he's like Redford without the edge - but he uses his stardom cannily, to kill with softness.
    • 64 Metascore
    • 90 David Edelstein
    We’ve never sat through anything with Cloverfield’s subjective sting. You’d have to be tougher than I was not to be blown sideways by it.
    • 64 Metascore
    • 40 David Edelstein
    The revulsion that Steven Spielberg maintained to the end of "Saving Private Ryan" is nowhere in sight — Ayer betrays his own values with a climax that’s like a hack gamer’s recreation of Peckinpah’s "The Wild Bunch." The final encounter between Ellison and a German soldier is meant to offer humanist balance, but in context it’s ludicrous. You can’t believe Ayer thought he could get away with it.
    • 64 Metascore
    • 50 David Edelstein
    Evocative as it is, The Road comes up short, not because it’s bleak but because it’s monotonous.
    • 64 Metascore
    • 70 David Edelstein
    Don't worry, parents, only you--and not your 5-year-old--will get that the chicken's stoned out of his gourd.

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