David Ehrenstein
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For 41 reviews, this critic has graded:
  • 75% higher than the average critic
  • 2% same as the average critic
  • 23% lower than the average critic
On average, this critic grades 10.3 points higher than other critics. (0-100 point scale)

David Ehrenstein's Scores

  • Movies
  • TV
Average review score: 70
Highest review score: 100 Pépé le Moko (re-release)
Lowest review score: 10 Sorority Boys
Score distribution:
  1. Positive: 27 out of 41
  2. Negative: 1 out of 41
41 movie reviews
    • 98 Metascore
    • 100 David Ehrenstein
    Not to be missed. And pay close attention to the finale. It's a genuine surprise.
    • 77 Metascore
    • 90 David Ehrenstein
    Brilliant new documentary.
    • New Times (L.A.)
    • 61 Metascore
    • 90 David Ehrenstein
    Beautifully made, deeply upsetting drama.
    • New Times (L.A.)
    • 49 Metascore
    • 90 David Ehrenstein
    Think "Basic Instinct" with brains, and you've got it.
    • 66 Metascore
    • 90 David Ehrenstein
    Deeply moving and exceptionally gracious piece of documentary filmmaking.
    • 73 Metascore
    • 90 David Ehrenstein
    One of the most genuinely shocking films you'll ever see.
    • 60 Metascore
    • 90 David Ehrenstein
    The cast is uniformly excellent; all involved seem keyed into the subtextual subtleties of a story that, while simple on the surface, is exceedingly rich underneath.
    • 68 Metascore
    • 90 David Ehrenstein
    Charged by Rideau's amazingly sexy performance as the most forthright gay character put on screen to date, this is a fine piece of filmmaking.
    • 85 Metascore
    • 90 David Ehrenstein
    Offers an enormous amount of pure silly fun for the entire non-nuclear family, no matter what gender they may be.
    • 53 Metascore
    • 90 David Ehrenstein
    A thoughtful, well-acted and well-observed (though bleak) look at what some people have to put up with to get through life.
    • 63 Metascore
    • 80 David Ehrenstein
    A film whose surface charm never gets in the way of its profound seriousness about living life to the fullest -- especially when one knows it isn't going to be a terribly long one.
    • 66 Metascore
    • 80 David Ehrenstein
    Filmed by director Lorene Machado on direct video, it's a visually primitive affair. But you're not likely to care, given the chance to witness Cho's often incisive, but never hectoring, take on life as she's lived and observed it.
    • New Times (L.A.)
    • 59 Metascore
    • 80 David Ehrenstein
    Has all the crowd-pleasing elements moviegoers respond to: appealing hero, absorbing story, a solid group of supporting players and a big fat happy ending.
    • 88 Metascore
    • 80 David Ehrenstein
    A subtle mood piece in which a man's collapse is examined so rigorously that one almost hopes for a murder to come along and break the tension.
    • New Times (L.A.)
    • tbd Metascore
    • 80 David Ehrenstein
    It's the hallmark of a classic that must be seen to be disbelieved.
    • 49 Metascore
    • 80 David Ehrenstein
    Out of prison, Milani is still not allowed to leave Iran. Whether she will ever get the chance to make another film there is doubtful, all the more reason not to miss this one.
    • 50 Metascore
    • 80 David Ehrenstein
    Where The Iron Ladies makes its mark, and holds our interest, is in the way it integrates old-fashioned "low" comedy with social observation.
    • New Times (L.A.)
    • 68 Metascore
    • 80 David Ehrenstein
    Beautifully made and performed, this is a film of considerable insight into both the life of the impoverished and the mystery of human personality.
    • 73 Metascore
    • 70 David Ehrenstein
    There's an eerie coolness to this film that's quite unsettling and un-Oshima-like. Rather lengthy, it requires patience. But adventurous moviegoers aren't likely to mind.
    • 53 Metascore
    • 70 David Ehrenstein
    In the end, The Fluffer is a film for the chastened romantic in us all -- gay, straight or "for pay."
    • 62 Metascore
    • 70 David Ehrenstein
    It's odd for a film to be both dramatically conventional yet emotionally bizarre at the same time, as this one is.
    • New Times (L.A.)
    • 67 Metascore
    • 70 David Ehrenstein
    Shot on High Definition video, this exceptionally well-made but exceedingly bleak peek at tinseltown would be unbearable were it not for the sympathetic performance of Danny Huston.
    • 46 Metascore
    • 70 David Ehrenstein
    Full of fresh and unexpected observations about the cross-culturally complex lives of second-generation Indians living in the U.S.
    • 51 Metascore
    • 70 David Ehrenstein
    If this all sounds masochistic, it most certainly is. But the filmmakers have rendered it with such grace and subtlety that the spectacle of three very intelligent people ruining each other's lives becomes irresistibly romantic.
    • 68 Metascore
    • 70 David Ehrenstein
    This isn't entertainment for the faint of heart.
    • 40 Metascore
    • 70 David Ehrenstein
    The film belongs to Jordan Brower, whose every appearance breaks one's heart, and makes some otherwise familiar material come alive.
    • 55 Metascore
    • 70 David Ehrenstein
    For those partial to sublimely happy endings there won't be a peep of complaint. Only us recalcitrant souls will be left wishing Punks had just a tad more spunk.
    • 46 Metascore
    • 60 David Ehrenstein
    At 145 minutes it's a bit of a stretch, but the cinematographer is the great Eric Gautier ("Those Who Love Me Can Take the Train," "Pola X") and the score by Howard Shore is far superior to his Oscar-winning "Lord of the Rings."
    • New Times (L.A.)
    • 36 Metascore
    • 60 David Ehrenstein
    When Circuit is on its game it's very telling and where it's at its best is detailing just how difficult it is for men so hedonistically self-involved to love one another.
    • New Times (L.A.)
    • tbd Metascore
    • 60 David Ehrenstein
    Though wildly imperfect, manages, for all its missteps, to touch on a number of important issues few gay films have dealt with to date.
    • 63 Metascore
    • 60 David Ehrenstein
    While nostalgically recalling the past, this is a clear-eyed look at Jewish history that should prove compelling even to those who've never heard of the Yiddish theater.
    • 53 Metascore
    • 60 David Ehrenstein
    Weber uses Faye as base from which to branch out in bizarre directions.
    • 39 Metascore
    • 60 David Ehrenstein
    You can see all the jokes and heart-tugs coming a mile away. But writer Joseph A. Ciota and director Frank Ciota have a light touch. And they have a real find in their leading man, Eddie Malavarca.
    • 34 Metascore
    • 50 David Ehrenstein
    More art-directed than directed, there's nothing in the way of serious thought to be found here,
    • 59 Metascore
    • 50 David Ehrenstein
    Not as tumultuous as "Happy Together" (the best gay break-up movie to date) it nonetheless offers much food for thought, particularly in regard to issues of trust and condom use.
    • 43 Metascore
    • 50 David Ehrenstein
    Vera's technical prowess ends up selling his film short; he smoothes over hard truths even as he uncovers them.
    • 64 Metascore
    • 50 David Ehrenstein
    May be too low-key for its own good. Still, if you want to get in on the ground floor of Aidan Gillen's certain-to-be-skyrocketing career, it's a good place to start.
    • 69 Metascore
    • 50 David Ehrenstein
    A lacerating study of sexual alienation.
    • 52 Metascore
    • 40 David Ehrenstein
    If you're a Basquiat fan, or were around in New York back then, you'll want to take a look. If not, this film has little to recommend.
    • 30 Metascore
    • 40 David Ehrenstein
    Few things are quite as frustrating as a film that chooses a highly controversial subject then proceeds to give it the kid-glove treatment. That's the case with writer-director James Bolton's well-made, if excruciatingly slow-paced, drama.
    • 25 Metascore
    • 10 David Ehrenstein
    Not only unfunny, but downright repellent.
    • New Times (L.A.)