David Edelstein

Select another critic »
For 1,988 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 points higher than other critics. (0-100 point scale)

David Edelstein's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 The End of the Tour
Lowest review score: 0 The Mummy
Score distribution:
1988 movie reviews
    • 66 Metascore
    • 50 David Edelstein
    What Hooper can’t manage is to put us inside his characters’ heads — where we should be in a story that makes every surface suspect.
    • 82 Metascore
    • 80 David Edelstein
    Movies don’t always have to be “how things are.” When they’re as warm and rousing as Creed, they can be “how we want to make things.”
    • 69 Metascore
    • 70 David Edelstein
    Even a second-rate farce like Man Up can be a jolly pick-me-up. Its momentum alone made me very happy.
    • 95 Metascore
    • 80 David Edelstein
    Haynes has calibrated the film so precisely to Blanchett’s talents that he couldn’t have rendered her better with animation.
    • 65 Metascore
    • 80 David Edelstein
    The final film adaptation of Suzanne Collins’s dystopian Hunger Games YA novels, Mockingjay — Part 2, is a potent antiwar saga: bleak, savage, and very modern in the depiction of an unholy union between political manipulation and showbiz.
    • 65 Metascore
    • 20 David Edelstein
    Entertainment wears its contempt too arrogantly, fulsome in its emptiness.
    • 60 Metascore
    • 70 David Edelstein
    The new James Bond movie Spectre makes a satisfying final chapter to the four-film saga of Daniel Craig’s 007, even if that saga turns out to be less than the sum of its parts.
    • 93 Metascore
    • 100 David Edelstein
    This tight, relatively low-key, step-by-step procedural has a stronger impact than any horror movie.
    • 87 Metascore
    • 80 David Edelstein
    Brooklyn doesn’t quite capture Brooklyn, but its ambivalence about being Irish is gloriously epic.
    • 53 Metascore
    • 70 David Edelstein
    Our Brand is Crisis hits a lot of clunky notes and the end is unforgivably cornball, but it’s still one of the liveliest political black comedies I’ve seen in a while. The pacing is lickety-split, the talk is boisterous, and the cast is all aces.
    • 59 Metascore
    • 50 David Edelstein
    The movie improves on Koppelman’s ungainly novel but is generally dreary and light on insight. Director Adam Salky steers clear of the usual addiction-movie clichés, but he doesn’t have anything to replace them with, so it’s as if all the connective tissue is gone.
    • 29 Metascore
    • 20 David Edelstein
    The air of mourning might have worked as a counterpoint to the silliness if Mitch Glazer’s script had smart gags, but as one-liner after one-liner misses its mark, you begin to feel sorry for Murray, who’s really too old to be playing a guy who has a little daughter (not granddaughter) and likes to get kinky with Kate Hudson as a raucous, Dolly Parton–style hooker-businesswoman.
    • 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.
    • 79 Metascore
    • 90 David Edelstein
    Fukunaga’s hurtling camera and taut cutting keep Beasts of No Nation only just this side of hallucinatory, and Elba is the kind of titanic actor to kick it to a near-mythic level.
    • 66 Metascore
    • 80 David Edelstein
    The most engrossing part of Truth is the gradual, grueling retreat from the story, first by its participants and then by the network that broadcast it.
    • 86 Metascore
    • 100 David Edelstein
    Room is astonishing: It transmutes a lurid, true-crime situation into a fairy tale in which fairy tales are a source of survival.
    • 82 Metascore
    • 70 David Edelstein
    The first act is a thing of beauty and the second, good enough. Shame about that third act, though, and the ending that retroactively diminishes everything that preceded it.
    • 81 Metascore
    • 90 David Edelstein
    Experimenter is busily, thrillingly reflective. Its artificiality makes it seem even more alive, more in the present tense.
    • 81 Metascore
    • 70 David Edelstein
    It’s Rylance who keeps Bridge of Spies standing. He gives a teeny, witty, fabulously non-emotive performance, every line musical and slightly ironic — the irony being his forthright refusal to deceive in a world founded on lies.
    • 80 Metascore
    • 90 David Edelstein
    The Martian is shot, designed, computer-generated, and scripted on a level that makes most films of its ilk look slipshod. Scott and writer Drew Goddard aren’t trying to make an “important” sci-fi movie like Interstellar. They aim lower but blow past their marks.
    • 70 Metascore
    • 70 David Edelstein
    The problem — not fatal — with The Walk is that the narrative wire droops between the movie’s opening and final sequences.
    • 58 Metascore
    • 70 David Edelstein
    The Keeping Room is slow and rather arty, with a chamber-music (plus harmonica and fiddle) score and cinematography that shrouds the faces in shadow. But it’s a fine piece of storytelling and earns its look and feel.
    • 38 Metascore
    • 70 David Edelstein
    Unlike the '70s Italian cannibal movies, The Green Inferno doesn’t have a mondo vibe. It’s artfully made and acted with skill.
    • 76 Metascore
    • 80 David Edelstein
    Bahrani’s casting of Dern is genius. She’s such a profoundly unaffected actress that you instantly buy her aversion to her son’s lucre. She has a moral and aesthetic problem with that tacky mansion on the waterway. She wouldn’t fit in there.
    • 65 Metascore
    • 50 David Edelstein
    This is another moderately interesting but shallow biopic with an actor going for broke — to win, not to draw.
    • 82 Metascore
    • 90 David Edelstein
    What keeps Sicario from cynicism is the nature and depth of Villeneuve’s gaze, not childishly wide-eyed but capable still of feeling pain. He’s a terrific director. You know that if his heroine, Alice, gets out of Cartel-land alive, she might spend a few months in an asylum, but she’ll be back, hell-bent on seizing the foreground.
    • 68 Metascore
    • 50 David Edelstein
    Johnny Depp makes a valiant stab at the part, but even with his hair thinned and lightened and his face hardened, Depp remains Depp: I never forgot I was watching a big star doing an impersonation. It’s as if the spirit of a psychopath like Bulger resists the camera. Or maybe the movie isn’t imaginative enough to penetrate his shell.
    • 55 Metascore
    • 70 David Edelstein
    M. Night Shyamalan has come up with an unoriginal faux-doc horror picture that actually works like a demonic charm.
    • 64 Metascore
    • 70 David Edelstein
    Sleeping With Other People is a rare American non-homogenized rom-com, and it’s delightful even when you’re not sure what you’re watching.
    • 75 Metascore
    • 60 David Edelstein
    Moverman is attempting something hugely ambitious with Time Out of Mind: a socially conscious, existential-displacement art movie. I think it would have worked better with a little less rigor and a little more intimacy.

Top Trailers