David Edelstein

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For 1,939 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 1.8 points higher than other critics. (0-100 point scale)

David Edelstein's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Waltz with Bashir
Lowest review score: 0 Movie 43
Score distribution:
1939 movie reviews
    • 61 Metascore
    • 50 David Edelstein
    The action is bludgeoning. When Max gets pummeled by fists and lethal objects, we get pummeled by light and noise and rock-'em-sock-'em editing. No shrimp, though. As a narrative, "District 9" wasn't particularly original, either — in the end it was a standard conversion melodrama. But everything is better with shrimp.
    • 51 Metascore
    • 50 David Edelstein
    Lovelace is a respectable job, but it never goes deep.
    • 36 Metascore
    • 30 David Edelstein
    The Canyons isn’t just bad, it’s rank — and it takes a peculiar sort of integrity to denude the frame of life to the point where it smells to heaven.
    • 60 Metascore
    • 50 David Edelstein
    Slapped with the generic title The Wolverine, the fifth feature-length appearance of Hugh Jackman’s X-Man John Logan is basically "The Bad News Wolverine Goes to Japan" and is not especially world-shaking.
    • 86 Metascore
    • 90 David Edelstein
    Hot-dog Hong Kong action stylist Johnnie To has never achieved the cult status of John Woo in this country, but his explosively entertaining — and startlingly splattery — Drug War should win him new fans.
    • 82 Metascore
    • 80 David Edelstein
    Most teen movies are cocktails of melancholy and elation. This one is best at its most un-transcendent —when it most evokes that period when we never knew what we were supposed to do with the pain.
    • 78 Metascore
    • 70 David Edelstein
    It’s amazing how skilled he (Allen) is in making his old ideas seem fresh, lively, even urgent. His new drama Blue ­Jasmine comes this close to being a wheeze. But he sells it beautifully.
    • 37 Metascore
    • 0 David Edelstein
    In my own world, Only God Forgives plays somewhat differently. I thought it was just about the worst f---ing thing I’ve ever seen. In fact, I was depressed it wasn’t laughed off the screen.
    • 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.
    • 53 Metascore
    • 70 David Edelstein
    Rufus Norris’s debut film, Broken, is a fractured, tonally scrambled British coming-of-age movie with flashes of greatness and an intensely felt performance by a young actress named Eloise Laurence.
    • 89 Metascore
    • 90 David Edelstein
    The resulting film is bizarre to the point of ­trippiness, yet it’s one of the most lucid portraits of evil I’ve ever seen.
    • 64 Metascore
    • 50 David Edelstein
    Pacific Rim made me marvel at the technology of movies, but never the magic of them.
    • 68 Metascore
    • 50 David Edelstein
    The story doesn’t feel dramatized. It feels pitched.
    • 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.
    • 37 Metascore
    • 20 David Edelstein
    Appalling in ways that you could never have anticipated. The movie mixes mismatched-buddy high jinks with scenes of carnage.
    • 52 Metascore
    • 70 David Edelstein
    Of all the dumb megabudget "Die Hard"–like action pictures of the last few years (including that other White House Goes Boom movie, "Olympus Has Fallen"), this is both the most entertaining and the most inviting of viewers' input.
    • 63 Metascore
    • 50 David Edelstein
    Without a character, he’s (Pitt) back to that soft, appraising, Robert Redford Jr. stare, his mouth half open as if he’s about to speak but plainly with nothing on his mind apart from, “This is what a movie star looks like without any lines.” The ghouls are having deeper thoughts.
    • 82 Metascore
    • 80 David Edelstein
    It’s an unshowy, quietly intense drama with grace notes in every scene — and a hellish punch.
    • 66 Metascore
    • 90 David Edelstein
    The movie is gorgeous, mesmerizing, poetic; the lyricism actually heightened by harsh jets of gore.
    • 67 Metascore
    • 50 David Edelstein
    Some of that fun is infectious. For a while. Maybe 45 minutes. But when actors look as if they’re having a better time than you are, the buzz wears off fast. You turn into a wallflower at an especially obnoxious party.
    • 55 Metascore
    • 50 David Edelstein
    The movie isn’t dead on arrival, like Snyder’s over-reverent "Watchmen." But it’s pleasure-free.
    • 66 Metascore
    • 70 David Edelstein
    Apart from scenes with Leslie Mann as a mother who propagates the wisdom of The Secret (she’d be too heavy-handed for a Disney Channel sitcom), The Bling Ring is enjoyable. And it’s always easy on the eyes.
    • 83 Metascore
    • 70 David Edelstein
    You gasp at the ecstatic convergence of lung power and spirit.
    • 33 Metascore
    • 30 David Edelstein
    Were Shyamalan and Smith deliberately invoking the terror — now omnipresent in urban African-American communities — of lethal asthma attacks in children? I’m not sure how I feel about something so real and so wrenching in the context of a Grade D (unfit for human habitation) sci-fi picture like After Earth.
    • 68 Metascore
    • 80 David Edelstein
    The magnetic Alexander Skarsgard is the leader, Benji, a soft-spoken dreamboat, ever-direct but with a haunted quality, with something in reserve. Ellen Page gives a Lili Taylor–worthy performance (high praise) as a suspicious, abrasive young woman.
    • 61 Metascore
    • 70 David Edelstein
    The driving in the film is a thing of beauty.
    • 70 Metascore
    • 90 David Edelstein
    Downey found a way to channel his working-class audience’s anger against liberal shibboleths and not incidentally take down both his dad and his surrogate dad — Teddy ­Kennedy. It’s a ­riveting Oedipal tragedy.
    • 78 Metascore
    • 90 David Edelstein
    The movie’s singular acting triumph is Nathan Fillion’s Constable Dogberry, one of Shakespeare’s simpler buffoons made poetic by understatement. Fillion speaks softly, with ­uninflected sincerity, a brilliant departure from the standard gregarious-­hambone Dogberry. It’s his insularity — his imperviousness to the interjections of more observant people — that makes him such a touchingly credible clown.
    • 76 Metascore
    • 80 David Edelstein
    By the time this twisty, probing, altogether enthralling movie hits its final notes, the crimes against the Constitution and humanity have been upstaged by personal demons. Which is our woe as well.
    • 94 Metascore
    • 80 David Edelstein
    Before Midnight counts on our previous investment to keep us riveted. We are. And we want them back in spirit on that train to Vienna as much as they do. What’s next — After Sunrise?

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