David Edelstein

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For 1,877 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 2.3 points higher than other critics. (0-100 point scale)

David Edelstein's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Sin City
Lowest review score: 0 Only God Forgives
Score distribution:
1877 movie reviews
    • 88 Metascore
    • 80 David Edelstein
    That's the beauty of Mafioso: that what begins as a comedy of disconnection becomes a tragicomedy of connection -- of roots that go deep and branches that span continents.
    • 88 Metascore
    • 90 David Edelstein
    As he proved in his Iraq-centered "No End in Sight," policy wonk turned documentarian Charles Ferguson has no peer when it comes to tracking the course of a preventable catastrophe.
    • 88 Metascore
    • 70 David Edelstein
    A glorious, visceral mess -- The film is, by most criteria, an ungainly piece of storytelling. Yet it sweeps you up and hurtles you along like water from an exploded dike.
    • 88 Metascore
    • 90 David Edelstein
    Poetry in motion: It's eggsquisite.
    • 88 Metascore
    • 80 David Edelstein
    It's a prizewinning combination, terribly English and totally Hollywood, and Firth is, once more, uncanny: He evokes, in mid-stammer, existential dread.
    • 88 Metascore
    • 100 David Edelstein
    This is the kind of Western in which we know there will be blood but pray there won’t be, because the violence is bound to be gratuitous, absurd, with a needless finality. Hell or High Water is a rare humanist Western: Finality is the true villain.
    • 88 Metascore
    • 90 David Edelstein
    Up
    By all means, see Up in its 3-D incarnation: The cliff drops are vertiginous, and the scores of balloons--bunched into the shape of one giant balloon--are as pluckable as grapes.
    • 88 Metascore
    • 60 David Edelstein
    Once the surprise of seeing something so miserable depicted with such wit and poetry wears off, you’re left with a nagging ugh, as well as the feeling that this emotional/psychological syndrome isn’t nearly as universal as Kaufman thinks it is.
    • 88 Metascore
    • 60 David Edelstein
    Birdman is the very definition of a tour de force, and Iñárritu’s overheated technique meshes perfectly with the (enjoyable) overacting—the performers know this is a theatrical exercise and obviously relish the chance to Do It Big. But what comes out of the characters’ mouths is not so fresh.
    • 88 Metascore
    • 90 David Edelstein
    Pure and universal.
    • 87 Metascore
    • 70 David Edelstein
    It comes together neatly, perhaps too neatly to be … poetry. But it's not prosaic, either. It has a lucid grace.
    • 87 Metascore
    • 50 David Edelstein
    Gomorrah isn't memorable. The structure feels random, and the characters remain at arm's length. Next to HBO's "The Wire," which depicted an enormous financial ladder and also brought to life the characters on every rung, the movie is small potatoes: excellent journalism, so-so art.
    • 87 Metascore
    • 80 David Edelstein
    Brooklyn doesn’t quite capture Brooklyn, but its ambivalence about being Irish is gloriously epic.
    • 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
    • 100 David Edelstein
    An absolutely magical fusion of deadpan Ealing comedy and Gothic horror.
    • 87 Metascore
    • 90 David Edelstein
    In his late seventies, Robert Redford has never held the camera as magnificently as he does in the survival-at-sea thriller All Is Lost.
    • 87 Metascore
    • 100 David Edelstein
    Stevan Riley’s Listen to Me Marlon is the greatest, most searching documentary of an actor ever put on film, and it’s no coincidence that it’s about film’s greatest and most searching actor.
    • 87 Metascore
    • 80 David Edelstein
    The whole movie, of course, is a setting for its jewel, Catalina Sandino Moreno as Maria: With her clear, round eyes, long dark hair, and radiant transparency, she brings to mind two of the loveliest ingénues of the last quarter-century -- Meg Tilly and Jennifer Connelly.
    • 87 Metascore
    • 70 David Edelstein
    Uncle Boonmee is entrancing-and also, if you're not sufficiently steeped in its rhythms, narcotizing.
    • 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
    • 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
    Only the generic title disappoints. Leo Rockas, who turned Lady Susan’s epistles into an Austen-esque novel, suggests Flirtation and Forbearance or Coquetry and Caution. But by any title this is a treat.
    • 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
    • 100 David Edelstein
    Room is astonishing: It transmutes a lurid, true-crime situation into a fairy tale in which fairy tales are a source of survival.

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