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 WALL-E
Lowest review score: 0 Funny Games (2008)
Score distribution:
1,667 movie reviews
    • 87 Metascore
    • 60 David Edelstein
    Brokeback Mountain could use a little more of it--by which I mean more sweat and other bodily fluids. Ang Lee's formalism is so extreme that it's often laughable, and the sex is depicted as a holy union: Gay love has never been so sacred.
    • 87 Metascore
    • 70 David Edelstein
    Despite the simplicity of the brothers' technique, The Kid With a Bike has deep religious underpinnings, a relentless drive toward the mythos of death and resurrection. The film is not just in the tradition of Pinocchio and A.I.: It is a worthy successor.
    • 87 Metascore
    • 100 David Edelstein
    It’s breezy, then suspenseful, and gradually, crushingly sad. On its own terms, it’s a perfect film.
    • 87 Metascore
    • 80 David Edelstein
    HPATDH 2 works like a charm. A funereal charm, to be sure, but then, there's no time left for larks.
    • 87 Metascore
    • 100 David Edelstein
    A collage of pain that breaks over you like a wave. Every second you can feel the cost to Caouette of what he's showing: The sounds and the images are like a pipeline from his unconscious to the screen.
    • 87 Metascore
    • 80 David Edelstein
    Makes for quite an emotional roller-coaster ride. You don't know whether to celebrate or mock, to laugh or weep.
    • 87 Metascore
    • 80 David Edelstein
    Even though the film is full of laughs, the jokes hover on the edge of the abyss: This is a world in which lurid colors and extravagant gestures are means of filling the void.
    • 87 Metascore
    • 70 David Edelstein
    The movie doesn't quite come together, but it's full of smart, cynical talk, and it's very entertaining.
    • 87 Metascore
    • 80 David Edelstein
    Has a mixture of bloodletting and exultation that would make Sam Peckinpah sit up in his grave and howl with pleasure.
    • 87 Metascore
    • 80 David Edelstein
    Being a puckish Swedish, the writer-director Ruben Ostland slips into a tone that makes Force Majeure almost seem like a deadpan — frozen — comedy.
    • 86 Metascore
    • 90 David Edelstein
    Lincoln is too sharply focused to deserve the pejorative "biopic" label. It's splendid enough to make me wish Spielberg would make a "prequel" to this instead of another Indiana Jones picture.
    • 86 Metascore
    • 90 David Edelstein
    The movie is a triumph of an especially satisfying kind. It arrives at a kind of gnarled grace that’s true to this sorry old man and the family he let down in so many ways.
    • 86 Metascore
    • 90 David Edelstein
    The whole thing is irresistibly preposterous.
    • 86 Metascore
    • 20 David Edelstein
    It's impressive, in the sense that a sucker-punch impresses itself on your skull.
    • 86 Metascore
    • 90 David Edelstein
    This is Kent’s first feature — an astonishing debut. Not perfect, though.
    • 86 Metascore
    • 90 David Edelstein
    In sum, Last Days is the best kind of documentary — it ties you up in knots.
    • 86 Metascore
    • 100 David Edelstein
    The self-satire of The Kids Are All Right is so knowing, so rich, so hilarious, so damn healthy that it blows all thoughts of degeneracy out of your head.
    • 86 Metascore
    • 80 David Edelstein
    Cave of Forgotten Dreams is sometimes frozen by Herzog's awe. But it's hard not to love him for always trying to look beyond the surface of things, to find a common chord in the landscape of dreams.
    • 86 Metascore
    • 100 David Edelstein
    The best movie of the last several years: the most evocative, the most mysterious, the most inconsolably devastating.
    • 86 Metascore
    • 80 David Edelstein
    One job of memoir is to show the world through another's eyes and inspire you to live more alertly, and that is the glory of The Beaches of Agnès.
    • 86 Metascore
    • 90 David Edelstein
    Hot-dog Hong Kong action stylist Johnnie To has never achieved the cult status of John Woo in this country, but his explosively entertaining — and startlingly splattery — Drug War should win him new fans.
    • 86 Metascore
    • 80 David Edelstein
    A marvel of cunning, an irresistible blend of cool realism and Hollywood hokum.
    • 86 Metascore
    • 50 David Edelstein
    You could get high on this movie's technique, dizzy on its storytelling. Yet it's one of the most lucid bad trips ever made.
    • 86 Metascore
    • 80 David Edelstein
    If I seem cool, it might be because I came in hoping for the same level of blood-and-thunder as in the Evangelical scenes of "There Will Be Blood," whereas The Master is a cerebral experience. But Anderson has gone about exploring fundamental tensions in the American character with more discipline than I once thought him capable.
    • 86 Metascore
    • 100 David Edelstein
    By the climax, we can hardly breathe -- The outcome is less important than our utter and complete empathy with this man. As we await what he does, we breathe with him, in and out. This is an astonishing movie.
    • 86 Metascore
    • 80 David Edelstein
    The movie works smashingly, especially if you haven't seen its Hong Kong counterpart and haven't a clue what's coming. But for all its snap, crackle, and pop, it's nowhere near as galvanic emotionally.
    • 86 Metascore
    • 80 David Edelstein
    Liam Neeson has gravely splendid pipes as Ponyo’s father, a once-human wizard who lives underwater and despises humankind for polluting the planet.
    • 86 Metascore
    • 100 David Edelstein
    Osder has made a documentary that’s astonishingly in the present tense.
    • 86 Metascore
    • 50 David Edelstein
    I hope I'm not raining on Beasts of the Southern Wild's deluge to say it doesn't always live up to its pretensions. There's a lot of unshaped babble and draggy landscape shots, and the music, so lovely in small doses, is numbing when it's ladled over everything.
    • 86 Metascore
    • 90 David Edelstein
    In The Flight of the Red Balloon, the great Taiwanese filmmaker Hou Hsiao Hsien uses Albert Lamorisse’s 1956 masterpiece "The Red Balloon" as a springboard for his own masterpiece--a distinctively modern and allusive one, yet so tender and plaintive that you understand what Hou is up to on a preconscious level.

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