David Edelstein

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For 1,806 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 2.9 points higher than other critics. (0-100 point scale)

David Edelstein's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Melancholia
Lowest review score: 0 15 Minutes
Score distribution:
1806 movie reviews
    • 83 Metascore
    • 90 David Edelstein
    Very entertaining (and doesn’t overstay its welcome) but it’s a little depressing to contemplate.
    • 83 Metascore
    • 90 David Edelstein
    Truly, this is manna from hell.
    • 83 Metascore
    • 70 David Edelstein
    The inner life of the young Spider is just screaming to be taken to the next level--but Cronenberg mulishly won't go there. What goes wrong with Spider is pretty basic: The audience has no idea why it was made.
    • 83 Metascore
    • 80 David Edelstein
    Buoyed by Chopin, Schubert, Schumann, and more, Seymour: An Introduction is lyrical without getting fancy, its director plainly rapt.
    • 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.
    • 83 Metascore
    • 100 David Edelstein
    The fact that Duvall gives such a glorious performance in The Apostle is likely to distract people from the fact that he has also written and directed a glorious movie--the most vivid and radiantly made of 1997.
    • 83 Metascore
    • 80 David Edelstein
    For all its relative subtlety, Kill Bill, Vol. 2 remains a cartoon: Its wit is broadsword rather than rapier, and its motives are elemental. The banter is second-tier Tarantino: a cut above his imitators, but below the standard set by "Pulp Fiction" and "Jackie Brown."
    • 83 Metascore
    • 50 David Edelstein
    Marathon of misery.
    • 83 Metascore
    • 90 David Edelstein
    Lake of Fire centers on abortion, but Kaye understands that while dead fetuses are the hook, the agenda covers the whole life cycle.
    • 83 Metascore
    • 90 David Edelstein
    Both a masterpiece and a holy hell: Watching it, you feel you're being punished for a crime you didn't commit. Which puts you, come to think of it, in the same frame of mind as those poor Magdalene girls.
    • 83 Metascore
    • 90 David Edelstein
    No filmmaker I know has gotten as close to a professional athlete as James Toback gets to Mike Tyson in his new documentary.
    • 83 Metascore
    • 80 David Edelstein
    You can't make this stuff up. You can, however, capture it on film for all time. Trouble the Water is ineradicably moving.
    • 83 Metascore
    • 100 David Edelstein
    It’s funny and inspiring and harsh and depressing. It’s steeped in existential dread. I don’t know how Birbiglia pulled it off, but he gets the minutiae of an improv-comedy show thrillingly right while using the form to build a kind of allegory of the corrosive effects of capitalism.
    • 83 Metascore
    • 90 David Edelstein
    Burton, bless him, constricts the space and concentrates the melodrama; he finds the perfect balance between the funereal and the ferocious. Above all, he treasures these ghouls: He digs both their bloodlust and their melancholy.
    • 83 Metascore
    • 100 David Edelstein
    American satire rarely comes more winning than Election, an exuberantly caustic comedy that shows the symbiotic relationship between political go-get-'em-ism and moral backsliding.
    • 82 Metascore
    • 80 David Edelstein
    Movies don’t always have to be “how things are.” When they’re as warm and rousing as Creed, they can be “how we want to make things.”
    • 82 Metascore
    • 70 David Edelstein
    Ineffably sad - yet there's almost no loitering. The film is crisp, evenly paced, its colors bright, as sharp as the winter cold.
    • 82 Metascore
    • 70 David Edelstein
    Venus is worth seeing for the scenes between O’Toole and Vanessa Redgrave as the woman he abandoned--the mother of his children.
    • 82 Metascore
    • 90 David Edelstein
    The movie doesn't quite jell, but you'll feel its sting for hours.
    • 82 Metascore
    • 100 David Edelstein
    At times the movie’s small canvas feels momentous. They’ve found the inner tensions in people’s presentations of themselves in a way that’s positively Wallace-like.
    • 82 Metascore
    • 80 David Edelstein
    The documentary cannot be called muckraking, as the muck has already been well-raked, but Gibney's recounting has a touch of playful sadism that I quite enjoyed.
    • 82 Metascore
    • 80 David Edelstein
    It's rich, but slow, and children younger than eight (like mine) might get restless. But this big kid was lost in admiration.
    • 82 Metascore
    • 90 David Edelstein
    Is Fiennes miscast? Perhaps. He's a high-strung, somewhat clammy actor--not the first to spring to mind for this warmly self-effacing plodder. But he's remarkably fine.
    • 82 Metascore
    • 80 David Edelstein
    That title would suit a melodrama with an emphasis on doomed love, which is not what Loach has crafted. There is a (chaste) love story and plenty of bloodletting. But what engages him and his screenwriter, Paul Laverty, is the growing tension between brother Irish rebels.
    • 82 Metascore
    • 90 David Edelstein
    Face/Off is such a blast that at times I forgot I was watching a John Woo movie.
    • 82 Metascore
    • 90 David Edelstein
    This Pride & Prejudice (ampersand and all) a joy to behold.
    • 82 Metascore
    • 70 David Edelstein
    The hole in the film isn't a reflection on Linney's performance. It's as if Baumbach, his hands full of oily whale blubber, didn't want to deal with an exploding sac of squid ink. And who can blame him, really?
    • 82 Metascore
    • 90 David Edelstein
    For all its slickness, School of Rock has a let's-put-on-a-show quality that touches you in the most direct way a movie can. It's as if the filmmakers had said, "I'd like to teach the world to kick butt--in perfect harmony."
    • 82 Metascore
    • 80 David Edelstein
    Abrams and his writers (Roberto Orci and Alex Kurtzman) have come up with a way to make you dig the souped-up new scenery while pining for the familiar--a good thing.
    • 82 Metascore
    • 60 David Edelstein
    Frances Ha is an irritant when it lingers. When Baumbach’s touch is more glancing — when he cuts before the humiliation — it sings.

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