David Edelstein

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For 1,836 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 Diving Bell and the Butterfly
Lowest review score: 0 The Human Centipede (First Sequence)
Score distribution:
1836 movie reviews
    • 90 Metascore
    • 100 David Edelstein
    The exhilaration is slow to build. It doesn't come from any one thing but from countless crosscurrents, tiny bits of color that fill out the portrait.
    • 84 Metascore
    • 100 David Edelstein
    The end of The Cove is as rousing as anything from Hollywood. Manipulative? Sure--but isn't that fitting? Capitalism has driven an entire village to massacre dolphins and keep its work hidden.
    • 81 Metascore
    • 100 David Edelstein
    This is an amazing movie.
    • 81 Metascore
    • 100 David Edelstein
    The best film of the year? Possibly …
    • 82 Metascore
    • 100 David Edelstein
    Isn't just the most explosively entertaining movie musical in a couple of decades. It's going to be the most influential: the one that inspires the rebirth of the Hollywood musical.
    • 94 Metascore
    • 100 David Edelstein
    It might be the cinema's most astonishing holy war film. The Lord of the Rings took seven years and an army of gifted artists to execute, and the striving of its makers is in every splendid frame. It's more than a movie--it's a gift.
    • 78 Metascore
    • 100 David Edelstein
    Schamus is the former head of Focus Features, and seeing how he directs (this is his debut, though he has been Ang Lee’s collaborator for decades), I suspect he chose the company’s name. His vision is 20/20 plus.
    • 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.
    • 74 Metascore
    • 100 David Edelstein
    Munich is the most potent, the most vital, the best movie of the year.
    • 92 Metascore
    • 100 David Edelstein
    The film is a masterpiece in which “locked-in” syndrome becomes the human condition.
    • 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.
    • 79 Metascore
    • 100 David Edelstein
    Pi has designed his own terrarium to keep from staring directly into the abyss. It's not denial. It's faith in something else: the transformative power of storytelling. The film is transcendent.
    • 72 Metascore
    • 100 David Edelstein
    Straight Outta Compton is among the most potent rags-to-riches showbiz movies ever made.
    • 87 Metascore
    • 100 David Edelstein
    An absolutely magical fusion of deadpan Ealing comedy and Gothic horror.
    • 89 Metascore
    • 100 David Edelstein
    This is the best movie I've seen in a decade. For once it's no hyperbole to say, "Unforgettable!"
    • 72 Metascore
    • 100 David Edelstein
    Spielberg has been ridiculed for shooting his actors from below against impossibly Spielbergian skies and a denouement that lays the love on copiously. But there's nothing simpleminded about how he uses movie magic, as a spell to dispel nihilism, to save us from the worst of ourselves by summoning up the best.
    • 68 Metascore
    • 100 David Edelstein
    Everything he did in live-action movies with rolling boulders and runaway convoys he does bigger and better - by a factor of ten - in every frame. At the end of two hours, my jaw ached from grinning.
    • 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.
    • 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.
    • 77 Metascore
    • 100 David Edelstein
    Bitches, it’s always a good month in America for an antigun movie. The newest, Spike Lee’s Chi-Raq, might be the best ever. It’s sexy, brash, and potent — a powerful weapon in its own right.
    • 83 Metascore
    • 100 David Edelstein
    It’s true that the number of whales in captivity isn’t huge. But they’ve now become the mightiest symbols of our cultural hubris — of our inability to manage creatures we have the power to capture and imprison. It’s a metaphor for the ages.
    • 91 Metascore
    • 100 David Edelstein
    The Queen is the most reverent irreverent comedy imaginable. Or maybe it's the most irreverent reverent comedy. Either way, it's a small masterpiece.
    • 93 Metascore
    • 100 David Edelstein
    This tight, relatively low-key, step-by-step procedural has a stronger impact than any horror movie.
    • 92 Metascore
    • 100 David Edelstein
    I love when non-fiction filmmakers stretch the form and attempt, with as much honesty as they can muster, to put us in the middle of the events they describe. They give us stunning hybrids like "Waltz With Bashir," "Persepolis," and, now, Tower.
    • 76 Metascore
    • 100 David Edelstein
    Might be the most provocative teen sex comedy ever made; it is certainly one of the most convulsively funny.
    • 82 Metascore
    • 100 David Edelstein
    I've never seen a movie with this mixture of fullness and desolation. Rachel Getting Married is a masterpiece.
    • 94 Metascore
    • 100 David Edelstein
    Something sacred passes between Trintignant and Riva. The actress's eyes signal deep awareness as the sounds coming out of her mouth become animalistic.
    • 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.
    • 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.
    • 99 Metascore
    • 100 David Edelstein
    Hype would bruise Barry Jenkins’s Moonlight, which is so delicate in its touch that the usual superlatives sound unusually shrill. It’s the gentlest, most suggestive of great films.

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