David Edelstein

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For 1,851 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 The World's End
Lowest review score: 0 Funny Games (2008)
Score distribution:
1851 movie reviews
    • 85 Metascore
    • 80 David Edelstein
    Knocked Up feels very NOW. The banter is bruisingly funny, the characters BRILLIANTLY childish, the portrait of our culture's narrowing gap between children and their elders hysterical--in all senses.
    • 85 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.
    • 85 Metascore
    • 80 David Edelstein
    It's no wonder young musicians say they learned to be rock stars from This Is Spinal Tap. It came to satirize and stayed -- and stays on -- to celebrate.
    • 85 Metascore
    • 70 David Edelstein
    For all its original touches, though, An Education follows a conventional trajectory.
    • 85 Metascore
    • 80 David Edelstein
    I've heard it said that Le Carré's work lost its savor with the end of the Cold War, which is as dumb as discounting "Coriolanus" because Romans and ­Volscians are no longer killing each other. Le Carré's subject was the national character and what happened to it under threat and in the absence of public scrutiny. It could hardly be, mutatis mutandis, more contemporary.
    • 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.
    • 85 Metascore
    • 90 David Edelstein
    If I didn't believe that the experience of watching Domestic Violence would change the world for the better, I wouldn't believe in the power of movies. And I wouldn't do what I do.
    • 85 Metascore
    • 60 David Edelstein
    Payne's movie is flat, depressed, and at times -- given this director's talent -- disappointingly curdled; it needs every quivering molecule of Nicholson's repressed rage to keep it alive and humming.
    • 85 Metascore
    • 80 David Edelstein
    If his (Zhang's) fight scenes don't fully intoxicate, though, his color and compositional rigor compensate for much. See Hero on the biggest screen you can find, and sit close enough for all that spiraling silk to tickle your nostril hairs.
    • 85 Metascore
    • 90 David Edelstein
    Nichols has a genius for making landscapes and everyday objects resonate like crazy, for nailing the texture of dread.
    • 85 Metascore
    • 60 David Edelstein
    It’s absorbing for a long while, at least half its two-hour running time — an evocatively photographed soap opera with actors who are impossibly gorgeous and yet human-looking — but it goes on and on, piling on twists, adding devices so clunky they’d have embarrassed most nineteenth-century problem-dramatists, refusing to jell despite the actors’ prodigious suffering.
    • 85 Metascore
    • 70 David Edelstein
    Atonement works reasonably well as a tragic romance, but that sting is dulled. As a book, it was a blow to the head; as a movie, it’s an adaptation of a book.
    • 85 Metascore
    • 80 David Edelstein
    After warming up with "The Thin Red Line" and "The New World," Malick has succeeded in fully creating his own film syntax, his own temporal reality, and lo, it is … kind of goofy. But riveting.
    • 85 Metascore
    • 80 David Edelstein
    The Host packs a lot into its two tumultuous hours: lyrically disgusting special effects, hair-raising chases, outlandish political satire, and best of all, a dysfunctional-family psychodrama--an odyssey that's like a grisly reworking of "Little Miss Sunshine."
    • 85 Metascore
    • 90 David Edelstein
    The film is a nearly unrelenting nightmare. Even interviews shot with the survivors after the fact have a current of dread.
    • 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.
    • 85 Metascore
    • 80 David Edelstein
    The cutting is hyperkinetic, yet Lee is always in synch with the cast’s phenomenal energy. He’s in their thrall--and so are we.
    • 85 Metascore
    • 60 David Edelstein
    For all its indirection, Meek's Cutoff is an utterly conventional film. But it's worth asking whether Reichardt's drowsy rhythms, stripped-down scenario, and female vantage add up to something illuminating. And here's where she earns at least some of those plaudits she's been getting.
    • 85 Metascore
    • 100 David Edelstein
    Fruitvale Station will rock your world — and, if the life of Oscar Grant means anything, compel you to work to change it.
    • 84 Metascore
    • 80 David Edelstein
    Holy Motors is typically confounding but on every level that matters a work of unfettered - and liberating - imagination.
    • 84 Metascore
    • 90 David Edelstein
    Is A Christmas Tale a masterpiece? Maybe. I have to play with it longer. It's certainly Desplechin's most accessible film, in part because its dysfunctional-family-holiday-reunion genre is so comfy and its palette so warm.
    • 84 Metascore
    • 90 David Edelstein
    I came out giddy, feeling lighter--by about five-sixths--than I did when I went in.
    • 84 Metascore
    • 80 David Edelstein
    Children of Men is a bouillabaisse of up-to-the-minute terrors. It's a wow, though.
    • 84 Metascore
    • 80 David Edelstein
    As I watched American Movie, a lot of it struck me as untranscendent misery. But in hindsight it seems less hopeless.
    • 84 Metascore
    • 90 David Edelstein
    The revered Finnish director Aki Kaurismäki has hit on a way to give you grim social realism and movie-ish sentimentality in one fell swoop.
    • 84 Metascore
    • 70 David Edelstein
    It left me bemused instead of moved, but true Andersonites will likely float away in a state of nirvana.
    • 84 Metascore
    • 90 David Edelstein
    Séraphine is one of the most evocative films about an artist I've ever seen--and in its treatment of madness one of the least condescending.
    • 84 Metascore
    • 70 David Edelstein
    Profoundly different from the others. On the cusp of their half-century mark, Apted's British subjects have accommodated themselves to what they were, what they are, and what they will be.
    • 84 Metascore
    • 70 David Edelstein
    Milk is one of the most heartfelt portraits of a politician ever made--the man himself remains just out of reach.
    • 84 Metascore
    • 100 David Edelstein
    Anderson says that as a child she dreamed of making something that had never been made before, and, with the help of some gifted artists and editors and camera-people, she has done it again — with bells on. The only thing that would make it more pleasurable would be Anderson narrating it in person.

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