For 856 reviews, this critic has graded:
  • 45% higher than the average critic
  • 2% same as the average critic
  • 53% lower than the average critic
On average, this critic grades 5.9 points higher than other critics. (0-100 point scale)

David Edelstein's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Life of Pi
Lowest review score: 0 The Human Centipede II (Full Sequence)
Score distribution:
  1. Negative: 60 out of 856
856 movie reviews
    • 73 Metascore
    • 80 David Edelstein
    It's one of the best kinds of documentaries--not calculated but serendipitous.
    • 65 Metascore
    • 80 David Edelstein
    James Scurlock's documentary Maxed Out, tells the bone-chilling, bloodcurdling, hair-raising story of a country (guess which one?) that's up to its eyeballs in credit-card debt.
    • 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.
    • 85 Metascore
    • 80 David Edelstein
    As the political rhetoric between Washington and Tehran becomes dangerously overheated, Offside offers an intimate antidote: an affectionate glimpse into the cultural schisms that young Tehranis face every day. Western audiences will cheer the rebellious girls on.
    • 64 Metascore
    • 80 David Edelstein
    I'm looking forward to buying Blades of Glory on DVD so I can get my head around the phenomenal skating routines. Obviously, there were wires and lifts and computer-generated effects, but for my money it looked like the lumbering Ferrell and nerdy Heder were Olympic-worthy stylists.
    • 73 Metascore
    • 80 David Edelstein
    Frank's writing is razor-sharp, his filmmaking whistle-clean. As a fan of sharp razors and clean whistles, I enjoyed The Lookout--yet I did feel let down by the climax, which ought to have been blunter and messier and crazier and more cathartic.
    • 71 Metascore
    • 80 David Edelstein
    I urge you not to pass up Black Book, especially on a wide screen. It's a marvelous movie-movie, with a new screen goddess. Van Houten has a soft, heart-shaped face on top of a body so naturally, ripely beautiful it has its own kind of truth.
    • 77 Metascore
    • 80 David Edelstein
    The fun is in the one-thing-after-another delirium the movie induces, and in our breathless anticipation of what they'll hurl at us next.
    • 62 Metascore
    • 80 David Edelstein
    One way you know that D.J. Caruso is a resourceful director is that he scares you silly with a minimum of violence and a few smears of blood. His job was certainly made easier by Morse, whose glassy demeanor and high, soft rasp suggests horrors that not even Quentin Tarantino could imagine.
    • 58 Metascore
    • 80 David Edelstein
    Computer-generated animated movies with wall-to-wall jokes can be excruciating, but these jokes are the funniest money can buy.
    • 62 Metascore
    • 80 David Edelstein
    Bug
    Has the feverish compression of live theater and the moody expansiveness of film. The mix is insanely powerful.
    • 74 Metascore
    • 80 David Edelstein
    The greatness of Golden Door is its tone; sympathetic but always wry.
    • 62 Metascore
    • 80 David Edelstein
    It's so money! It's so fun!
    • 69 Metascore
    • 80 David Edelstein
    It takes some time to realize we're in a maelstrom--going down down down into a saga of obsession, sadism, masochism, and codependency that was and remains one of the great, sick tabloid stories of all time.
    • 70 Metascore
    • 80 David Edelstein
    It's madly funny--a treat for moviegoers who don't mind gnawed-off limbs with their high jinks.
    • 80 Metascore
    • 80 David Edelstein
    I found the first half-hour a snooze, but once I adjusted to the movie's rhythms, I was completely enraptured. Ferran weaves the love affair into nature, but not in the mystical, sanctified manner of Ang Lee's "Brokeback Mountain."
    • 74 Metascore
    • 80 David Edelstein
    Sicko is Moore’s best film: a documentary that mixes outrage, hope, and gonzo stunts in the right proportions; that poses profound questions about the connection between health care and work.
    • 71 Metascore
    • 80 David Edelstein
    Kohn’s gripping Manda Bala is the opposite of a high-school science doc. It’s a free-form portrait of a place--Brazil--with scary running motifs: kidnapping, mutilation, plastic surgery, bulletproofing, and frog farming.
    • 65 Metascore
    • 80 David Edelstein
    The first two thirds and change of I Am Legend is terrific mindless fun: crackerjack action with gnashing vampires barely glimpsed (and scarier for that) and how’d-they-do-that New York locations that retroactively justify the traffic jams.
    • 61 Metascore
    • 80 David Edelstein
    The Afghan boys’ kite-flying contests are the emotional core of the film, and Forster and his crew bring the camera into the sky and make it dip and soar along with the kites. It’s a thrilling spectacle, although it’s also tinged with a peculiarly emasculating aggression.
    • 82 Metascore
    • 80 David Edelstein
    It’s the equal of "No End in Sight" in its tight focus on the nuts and bolts of incompetence, and it surpasses any recent melodrama in the empathy it evokes for both its victims and--surprisingly--victimizers.
    • 80 Metascore
    • 80 David Edelstein
    The Band’s Visit resounds with tenderness and melancholy.
    • 83 Metascore
    • 80 David Edelstein
    Bahrani’s concentration is close to supernatural as he tracks the young, prepubescent Ale (Alejandro Polanco) from job to soul-numbing job, some legal, some extralegal, to the point where you’re forced to suspend altogether your moral judgments and watch with a mixture of pain and awe.
    • 65 Metascore
    • 80 David Edelstein
    In Married Life, Ira Sachs aims a bit lower than Green but obliterates his target: The funny, the scary, the campy, the sad--they’re all splendidly of a piece.
    • 65 Metascore
    • 80 David Edelstein
    Battle for Haditha has some of the raw energy of Sam Fuller's war pictures, which weren't subtle but left you energized by their ambivalence (there was no good or evil). It's a hell of a picture.
    • 54 Metascore
    • 80 David Edelstein
    Director Dennis Dugan knows his way around shin-whacking slapstick, and Sandler is mesmerizing.
    • 69 Metascore
    • 80 David Edelstein
    This one is alive with discoveries--of locations, characters, the actors who embody them, and even the medium. In The Go-Getter, filmmaking itself feels like Manifest Destiny.
    • 52 Metascore
    • 80 David Edelstein
    The first two thirds are gangbusters, with marauding bands of tarted-up young witches who look only slightly less scary than Lindsay Lohan and her pals on an average night.
    • 84 Metascore
    • 80 David Edelstein
    My Winnipeg is overloaded and digressive--it comes with the territory--but it's also grounded in a place, Maddin's Manitoban hometown, and it's painfully engrossing.
    • 73 Metascore
    • 80 David Edelstein
    A tender, even-tempered elegy to a writer who at his peak could ingest staggering (literally) amounts of drugs and alcohol and transform, like Popeye after a can of spinach, into a superhuman version of himself--more trenchant, more cutting, more hilarious than any political journalist before or since.