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
    • 79 Metascore
    • 90 David Edelstein
    Not enough happens in it. And yet everything happens in it.
    • 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."
    • 73 Metascore
    • 90 David Edelstein
    This isn't just the most riotously inventive movie of the year, it's the raunch anthem of the age.
    • 63 Metascore
    • 90 David Edelstein
    It strides above its crudeness like a colossus. It's smart people telling dumb jokes with a brilliant sense of irony. Anchorman gives you permission to laugh like an idiot.
    • 73 Metascore
    • 90 David Edelstein
    The sequel is simply a tour-de-force of thriller filmmaking.
    • 82 Metascore
    • 90 David Edelstein
    Face/Off is such a blast that at times I forgot I was watching a John Woo movie.
    • 85 Metascore
    • 90 David Edelstein
    If I didn't believe that the experience of watching Domestic Violence would change the world for the better, I wouldn't believe in the power of movies. And I wouldn't do what I do.
    • 79 Metascore
    • 90 David Edelstein
    Remarkable.
    • 77 Metascore
    • 90 David Edelstein
    It's a Parisian romantic roundelay with sundry couples connecting and disconnecting, but it looks and sounds like no sex comedy ever made: It's transcendentally yummy.
    • 85 Metascore
    • 90 David Edelstein
    The movie, a near-masterpiece, is a monument to intoxication: of sexual conquest, of military conquest, and, most of all, of cinema.
    • 85 Metascore
    • 90 David Edelstein
    The film is a nearly unrelenting nightmare. Even interviews shot with the survivors after the fact have a current of dread.
    • 88 Metascore
    • 90 David Edelstein
    It becomes a meditation on the dual nature of film, on a "reality" at once true and false, essential and tainted.
    • 81 Metascore
    • 90 David Edelstein
    This is one of the most galvanizing documentaries I've ever seen.
    • 88 Metascore
    • 90 David Edelstein
    As he proved in his Iraq-centered "No End in Sight," policy wonk turned documentarian Charles Ferguson has no peer when it comes to tracking the course of a preventable catastrophe.
    • 94 Metascore
    • 90 David Edelstein
    Shot by shot, scene by scene, it's a fluid and enthralling piece of work. I wasn't bored for a millisecond.
    • 76 Metascore
    • 90 David Edelstein
    The Kidman in Rabbit Hole is a revelation.
    • 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
    • 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.
    • 75 Metascore
    • 90 David Edelstein
    Blessed is the go-for-it movie that can make room for dissonances and weirdness.
    • 79 Metascore
    • 90 David Edelstein
    Fiennes and Logan haven't made a definitive Coriolanus, but they've made a sensationally gripping one. They have the pulse of the play, its firm martial beats and its messy political clatter. They tell a damn good story.
    • 82 Metascore
    • 90 David Edelstein
    The movie doesn't quite jell, but you'll feel its sting for hours.
    • 76 Metascore
    • 90 David Edelstein
    Meehl, in her directing debut, is attuned to the rhythms of Buck, who's attuned to the horses.
    • 85 Metascore
    • 90 David Edelstein
    Nichols has a genius for making landscapes and everyday objects resonate like crazy, for nailing the texture of dread.
    • 82 Metascore
    • 90 David Edelstein
    In Mysteries of Lisbon, the prolific Chilean-born director and egghead Raúl Ruiz has achieved something remarkable, at once avant-garde and middlebrow: the apotheosis of the soap opera.
    • 95 Metascore
    • 90 David Edelstein
    What makes it so good is that no one is bad. These humans, desperate to do right, are caught up in a perfect storm of inhumanity. The evil is in the ecosystem.
    • 92 Metascore
    • 90 David Edelstein
    Joel and Ethan Coen’s Inside Llewyn Davis is an exquisitely crafted tale of woe with heartfelt early-sixties folk music — and an overarching snottiness.
    • 90 Metascore
    • 90 David Edelstein
    In totalitarian societies, artists have found all sorts of ways - some brilliantly imaginative - to disguise their political protest, but Panahi has no subterfuges left. This Is Not a Film ends with a whimper that is a bang. He must be freed.
    • 76 Metascore
    • 90 David Edelstein
    No actor is as brilliant, or as cunning, as Denzel Washington at portraying superhuman coolness and the scary prospect of its loss.
    • 66 Metascore
    • 90 David Edelstein
    You could never call Solondz a humanist, but he achieves something I've never seen elsewhere: compassionate revulsion.
    • 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.

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