David Edelstein
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For 1,624 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 3.8 points higher than other critics. (0-100 point scale)

David Edelstein's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Birdman or (The Unexpected Virtue of Ignorance)
Lowest review score: 0 Freddy Got Fingered
Score distribution:
1,624 movie reviews
    • 81 Metascore
    • 80 David Edelstein
    It is filmed with simplicity, a purity of intent, and I wanted to watch the faces of these men in their last seconds of life--not for the sake of history, but because of Wajda's imperative to put his father's death onscreen. He needed to do this. And somehow, sanity is restored.
    • 81 Metascore
    • 90 David Edelstein
    I’m not crying “masterpiece” here. Locke is too contained, too well-carpentered, too self-consciously “classical.” But tours don’t come much more forceful. Once you’ve taken this 90-odd-minute drive with Tom Hardy, you’ll never forget his face.
    • 81 Metascore
    • 90 David Edelstein
    Ends very abruptly, at a point where you're ready to hang out with it a while. I wanted it to go on and on, but that ending is right. It leaves you the way American movies almost never do: relaxed, receptive, and happy in the moment, not even caring if your train comes in.
    • 81 Metascore
    • 90 David Edelstein
    Mike Mills's marvelously inventive romantic comedy Beginners is pickled in sadness, loss, and the belief that humans (especially when they mate) are stunted by their parents' buried secrets, their own genetic makeup, and our sometimes-sociopathic social norms.
    • 81 Metascore
    • 80 David Edelstein
    Young Edie Martin, with her chaotic swarm of red ringlets and deadpan dutifulness (she has few lines, but they’re goodies), is the movie’s sign of eternal spring--the butterfly atop the just-opened blossom.
    • 81 Metascore
    • 80 David Edelstein
    Guilt and alienation from Argentina’s Lucrecia Martel, so arty, enervated, and allegorical it might have been made by a European in the early sixties.
    • 81 Metascore
    • 80 David Edelstein
    I hate to damage so fragile a work with overpraise, but, gay or straight, if you don't see yourself in this movie, you need to get a life.
    • 81 Metascore
    • 90 David Edelstein
    Arnold's first feature, "Red Road" (2006), centers on another outsider, a woman who monitors security cameras. The film is formally brilliant, but it doesn't have the breathtaking openness of Fish Tank.
    • 81 Metascore
    • 70 David Edelstein
    Hot Fuzz is fun, and it's nice to see all the English character actors who aren't busy in Harry Potter films, but it lacks its predecessor's freshness.
    • 81 Metascore
    • 80 David Edelstein
    Django Unchained doesn't merely hit its marks; it blows them to bloody chunks. It's manna for mayhem mavens.
    • 81 Metascore
    • 80 David Edelstein
    It's an unusually funny, literate, worked-out script, and Mendes seems hell-bent on making the best Bond since "Goldfinger" - or the best, period, given that he exhumes Bond's old Aston Martin only to shoot it cheekily to pieces.
    • 81 Metascore
    • 80 David Edelstein
    An aching roundelay, a triumphantly benumbed ensemble farce that mingles condescension and compassion in a manner that's disarmingly--and often upsettingly--original.
    • 81 Metascore
    • 60 David Edelstein
    I found the film -- excruciatingly flat-footed, with one of the most exasperating scores (by Philip Glass) ever written. The most fascinating thing in the movie is a nose.
    • 81 Metascore
    • 90 David Edelstein
    Chris & Don is the rarest of documentaries: a realistic portrait of the human spirit.
    • 81 Metascore
    • 60 David Edelstein
    The movie isn't as world-shattering as those bouts: It's a regretful-old-warrior weeper.
    • 81 Metascore
    • 80 David Edelstein
    A dazzling, repellent exercise in which the case against men is closed before it's opened.
    • 81 Metascore
    • 80 David Edelstein
    I’ve seen Upstream Color twice and liked it enormously while never being certain of anything.
    • 81 Metascore
    • 100 David Edelstein
    No, I couldn't be more pleased with what the screenwriter, Steven Kloves, and the director, Mike Newell, have wrought this time.
    • 81 Metascore
    • 70 David Edelstein
    Adam Shankman's movie of the Broadway Hairspray gets better as it lumbers along, but there’s something garish about its hustle--it’s like an elephant trumpeting in your face.
    • 81 Metascore
    • 100 David Edelstein
    This is an amazing movie.
    • 81 Metascore
    • 80 David Edelstein
    No part of us is allowed to relax. Ever.
    • 81 Metascore
    • 90 David Edelstein
    A spectacular three-hankie tragic love story--sometimes dumb and often clunky and always pretty cornball, but just about irresistible.
    • 81 Metascore
    • 80 David Edelstein
    This Bond is haunted, not yet housebroken, still figuring out the persona. In Casino Royale, the reset button has been pressed in the manner of "Batman Begins."
    • 81 Metascore
    • 90 David Edelstein
    Starred Up is an edgy, teeming thriller, brilliantly disorienting, making strange a world we thought we knew, at least from other movies.
    • 81 Metascore
    • 90 David Edelstein
    This supernatural comedy isn't just Allen's best film in more than a decade; it's the only one that manages to rise above its tidy parable structure and be easy, graceful, and glancingly funny, as if buoyed by its befuddled hero's enchantment.
    • 81 Metascore
    • 100 David Edelstein
    This is by light-years the most entertaining movie of the year. How many apocalyptic sci-fi action extravaganzas leave you feeling as if the world is just beginning?
    • 81 Metascore
    • 70 David Edelstein
    Like Pynchon’s novel, it’s a little insular, too cool for school. It’s drugged camp. Some of the plot points get lost in that ether — it’s actually less coherent than Pynchon, no small feat. It’s not shallow, though.
    • 81 Metascore
    • 80 David Edelstein
    It's Lawrence who knocked me sideways. I loved her in "Winter's Bone" and "The Hunger Games" but she's very young - I didn't think she had this kind of deep-toned, layered weirdness in her.
    • 81 Metascore
    • 70 David Edelstein
    Elaine Stritch: Shoot Me is one of those showbiz docs that’s not exactly pleasurable but offers a penetrating glimpse — sometimes too penetrating — into what it means to eat, drink, and be contrary in the public sphere.
    • 81 Metascore
    • 90 David Edelstein
    This is one of the most galvanizing documentaries I've ever seen.

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