David Edelstein

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For 1,989 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 1.9 points higher than other critics. (0-100 point scale)

David Edelstein's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Igby Goes Down
Lowest review score: 0 Life Is Beautiful
Score distribution:
1989 movie reviews
    • 45 Metascore
    • 50 David Edelstein
    Watching the rest of the movie, I wondered if Allen had discovered the script in an old file cabinet (maybe meant as a play?) and appended that meta intro to account for how obvious and old-hat the rest of it is. Probably a good strategy.
    • 57 Metascore
    • 60 David Edelstein
    It’s a fun little movie, more of a giddy rom-com than a splatter-y slasher.
    • 55 Metascore
    • 70 David Edelstein
    That makes Brosnan the more interesting protagonist, Chan the wild card — and changes The Foreigner from a standard revenge melodrama into something weightier and less predictable. It’s an awkward weave, but it has gravitas.
    • tbd Metascore
    • 70 David Edelstein
    Early in the film, Margaret Cho nails both sides of the issue in her stand-up act, decrying plastic surgery as “brainwashing, mutilation, and manipulation of women.
    • 48 Metascore
    • 70 David Edelstein
    It’s said you have a choice at a movie like The Mountain Between Us: Laugh at it or go with it. I don’t see those two things as mutually exclusive. I laughed at it and enjoyed the hell out of it.
    • 76 Metascore
    • 70 David Edelstein
    I hope the film inspires a new generation of amateur sleuths. Maybe — thanks to movies like The Death and Life of Marsha P. Johnson — a wish-fulfilling fictional scenario will come to pass in the real world, and the injustices of history will stand plainly in the living present.
    • 27 Metascore
    • 10 David Edelstein
    I wish I could tell you they made a mistake and it’s not so bad, but, as Andy Kaufman’s Foreign Man would put it, “Ees so bad, ees terrible.”
    • 69 Metascore
    • 60 David Edelstein
    The last act of Our Souls at Night is rushed and the ending truncated. But the good vibes linger. Netflix is putting the film in a few theaters but it’s online now to watch. You should. It’s a nice little movie.
    • 81 Metascore
    • 60 David Edelstein
    There’s nothing close to the shock of seeing Blade Runner’s Tokyo-influenced futuristic dystopia — a dismal mix of high-tech and corrosion — for the first time. I thought it was okay.
    • 65 Metascore
    • 70 David Edelstein
    It’s in the uncertainties and dissonances of Last Flag Flying that Linklater’s humanism really expresses itself. Three men of vastly different values and temperaments come alive in the shared understanding that their losses were for nothing. And that shared understanding is something.
    • 58 Metascore
    • 50 David Edelstein
    The chief — though hardly the only — problem with Victoria & Abdul is that too much political correctness proves to be as bad for drama as too little.
    • 44 Metascore
    • 20 David Edelstein
    Kingsman: The Golden Circle is the bloated, campy, thoroughly stupid sequel to the 2014 action thriller "Kingsman: The Secret Service."
    • 73 Metascore
    • 80 David Edelstein
    If Battle of the Sexes is unsurprising to a fault, it’s by no means a double fault. The movie is very entertaining.
    • 58 Metascore
    • 70 David Edelstein
    This is a formula movie but Gilroy is no hack. He hits the expected beats but with more color and depth than you expect.
    • 71 Metascore
    • 80 David Edelstein
    Brad walks around seething, and Stiller is a good seether. He has made a career of playing men with colossal chips on their shoulders. He has a zest for humiliation. Maybe he fits the role of Brad too well. He’s so convincing that he’s difficult to watch. So is the movie, though on balance it’s very fine.
    • 87 Metascore
    • 60 David Edelstein
    It’s an utterly lovely, complacent movie, too comfortable with itself to generate real dramatic tension.
    • 42 Metascore
    • 60 David Edelstein
    Apart from those nutty camera angles and lenses, which throw you out of the action, The Current War is absorbing.... It never quite snaps into focus, though.
    • 71 Metascore
    • 80 David Edelstein
    Molly’s Game isn’t the deepest movie you’ll see, but it’s both finely tuned and big-hearted. It’s a rouser.
    • 42 Metascore
    • 50 David Edelstein
    The most charitable way to view it is as a Dadaist experiment, in which two tonally disparate movies were hacked down and their remaining strands woven together to bizarre effect.
    • 65 Metascore
    • 70 David Edelstein
    Every Dardennes movie is worth seeing, and The Unknown Girl has all kinds of gripping undercurrents.
    • 80 Metascore
    • 70 David Edelstein
    Nothing in Trophy shakes out neatly, because everyone onscreen has his or her own set of values and every value is in conflict. The movie is richer in every way for its tangled sympathies. It will leave you angry, sick, and confused — but not smug. Never smug.
    • 75 Metascore
    • 60 David Edelstein
    For all its feverish activity, Mother! feels static.
    • 43 Metascore
    • 50 David Edelstein
    The movie’s satirical backbone softens and dissolves, and watching it go wrong might make you realize it wasn’t that good to begin with — that Bell had been getting by on energy and the audience’s goodwill.
    • 44 Metascore
    • 70 David Edelstein
    Bushwick is actually an amazing template for the kind of virtual-reality entertainment that I bet will be common in a decade or two.
    • 67 Metascore
    • 70 David Edelstein
    It’s a real crowd-pleaser, and I hope a lot of people will be inspired by its mixture of grittiness and uplift. But it also demonstrates that showbiz go-for-it stories are more alike than unalike, even when they have a vivid countercultural vibe and feature actors who don’t conform to (Hollywood white male) studio ideals.
    • 78 Metascore
    • 80 David Edelstein
    The whole movie is a trick, reversing our expectations at nearly every turn and casting actors in roles that they were not exactly born to play, but do so with relish.
    • 82 Metascore
    • 100 David Edelstein
    The sci-fi chamber drama Marjorie Prime is exquisite — beautiful, intense, shivering with empathy.
    • 66 Metascore
    • 70 David Edelstein
    The Trip to Spain plays like it’s no big deal — a throwaway — but it’s consistently funny, its bitterness nudging the sweetness into complexity, its sweetness tempering the soupçon of despair. If that also sounds like a food review, well, someone has to write one.
    • 34 Metascore
    • 40 David Edelstein
    As a mascot, McConaughey embodies the movie’s lack of conviction, but as an indication that a star could conceivably be computer-generated with no loss of affect or facial mobility, he might inspire the next generation of bloodless fantasy epics.
    • 73 Metascore
    • 80 David Edelstein
    Although the resolution to the mystery wouldn’t do credit to a third-rate thriller, it’s crazily powerful — sudden and bloody but with no real catharsis, just a sense of waste and a feeling of, “What now?” I’m not sure how Sheridan would answer that — not that an artist really needs to.

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