David Ehrlich

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For 326 reviews, this critic has graded:
  • 41% higher than the average critic
  • 2% same as the average critic
  • 57% lower than the average critic
On average, this critic grades 1.9 points lower than other critics. (0-100 point scale)

David Ehrlich's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 Mad Max: Fury Road
Lowest review score: 0 The Moment
Score distribution:
  1. Negative: 55 out of 326
326 movie reviews
    • 85 Metascore
    • 100 David Ehrlich
    A saturated picture that courses with the raw energy of found footage while still feeling artfully composed, a movie that punches with the skittering violence of dubstep but careens through L.A. with the unbridled freedom of bebop jazz.
    • 90 Metascore
    • 100 David Ehrlich
    Marrying the biting frenzy of Terry Gilliam’s film universe with the explosive grandeur of James Cameron, Miller cooks up some exhilaratingly sustained action. But the key to this symphony of twisted metal is how the film never forgets that violence is a sort of madness.
    • 78 Metascore
    • 100 David Ehrlich
    It’s a sexy concept that will thrill Assayas neophytes, but the director’s longtime fans will find its pleasures virtually pornographic.
    • 100 Metascore
    • 100 David Ehrlich
    For a biblically-scaled film cycle so rich with irony that it seems to be chipping off the walls of the brutalist apartment complex where most of it takes place, perhaps the greatest irony of them all is that Dekalog is ultimately defined by its humility.
    • 83 Metascore
    • 90 David Ehrlich
    Robert Eggers' uncompromising directorial debut is a bracingly new experience that boils with the primordial fever of America's original sins.
    • 75 Metascore
    • 100 David Ehrlich
    Mistress America steamrolls through its mesmerizingly dense running time with such joyous violence that its themes only bubble up to the surface in retrospect, the heart of the movie identified like the dental records of a body that’s been burned beyond all recognition.
    • 72 Metascore
    • 100 David Ehrlich
    As with most miracles, Sunset Song is more likely to evoke awe than any one particular emotion; it accumulates an immensely tender beauty that fills up your heart like water rising in a well during a rainstorm.
    • 88 Metascore
    • 100 David Ehrlich
    Things to Come may lack the urgency or cool that flecks the writer-director’s previous movies, but this is perhaps her richest piece to date, a warm, funny and profoundly sensitive portrait of letting go and learning to make new memories.
    • 98 Metascore
    • 100 David Ehrlich
    The final beats of Guadagnino’s adaptation galvanize two hours of simmering uncertainty into a gut-wrenchingly wistful portrait of two people trying to find themselves before it’s too late.
    • 84 Metascore
    • 100 David Ehrlich
    Staggeringly beautiful and immensely true, the best animated film of 2016 — one of the year’s best films of any kind, really.
    • 72 Metascore
    • 100 David Ehrlich
    If the Coen brothers’ dramas are cautionary tales, their comedies are veritable how-to guides for people who can’t help but enjoy a mirthless chuckle at the humility of human existence. Yeah, the joke is on us, but that doesn’t mean it isn’t funny.
    • 91 Metascore
    • 100 David Ehrlich
    This spry, sharp and relentlessly clever middle finger to censorship is Panahi’s boldest act of defiance to date.
    • 75 Metascore
    • 100 David Ehrlich
    Building to an emotional wallop that’s almost on par with anything found in one of Miyazaki’s or Takahata’s films, The Kingdom Of Dreams And Madness is pornographically interesting for Studio Ghibli fans; as a delicate depiction of the artistic spirit, it’s equally essential viewing for everyone else.
    • 89 Metascore
    • 100 David Ehrlich
    A devastating and deceptively simple tale adapted from 10th-century folklore, Isao Takahata’s The Tale Of Princess Kaguya distills a millennium of Japanese storytelling into a timeless film that feels both ancient and alive in equal measure.
    • 89 Metascore
    • 91 David Ehrlich
    Winsome, sweet, and often very funny, The Other Side of Hope is more of the same from Kaurismäki, and thank God for that.
    • 68 Metascore
    • 91 David Ehrlich
    The genius of Kikuchi’s performance is that – by the end – her slow descent into mania humanizes Kumiko precisely when it would have been so easy to reduce her into caricature.
    • 82 Metascore
    • 91 David Ehrlich
    Biller spins an archly funny — but also hyper-sincere — story about the true price of the patriarchy. There hasn’t been anything quite like it in decades.
    • 74 Metascore
    • 91 David Ehrlich
    A Bigger Splash has neither a clear center nor a clear moral, and it's all the better for it. This is a film about behavior, not plot — and how people are ruled by emotion, and not logic.
    • 88 Metascore
    • 91 David Ehrlich
    Citizenfour offers a remarkably intimate look at history as it happened. In fact, the immediacy of Poitras’ film is so remarkable that, at least for the immediate future, her craft is likely to be overshadowed by her access, her storytelling overshadowed by her opportunity.
    • 68 Metascore
    • 91 David Ehrlich
    Landline is a textured, silly, sweet, and deeply felt comedy that traces the distance between the most satisfied parts of ourselves and the most desperate, between the people we are and the people we think we should be, and it finds that — for better or worse — we’re all stuck somewhere in between.
    • 58 Metascore
    • 91 David Ehrlich
    One of the greatest comedy sequels ever made.
    • 77 Metascore
    • 91 David Ehrlich
    Unfolding like a symphony of small humiliations, there isn’t a moment in this movie that doesn’t feel at least vaguely familiar, and there isn’t a moment in this movie that doesn’t feel completely true.
    • 83 Metascore
    • 91 David Ehrlich
    This is the rare movie that’s redeemed by its unchecked nostalgia.
    • 86 Metascore
    • 91 David Ehrlich
    Hirokazu Kore-eda may only make good movies, but After the Storm is one of his best.
    • 75 Metascore
    • 90 David Ehrlich
    For all of its provocatively cerebral ideas, the prevailing truth is that Goodbye To Language is actually a great deal of fun—not just to think about, but also to experience. It’s “Godard: The Ride.”
    • 83 Metascore
    • 89 David Ehrlich
    While this is arguably Greengrass’ best film, it’s almost certainly his most urgent.
    • 70 Metascore
    • 87 David Ehrlich
    An instantly and enduringly compelling documentary.
    • 69 Metascore
    • 87 David Ehrlich
    Palo Alto is one of the best movies ever made about high school life in America (admittedly a low bar), blurring the lines between how unique it is to be a teenager, and how universal it is to feel like one.
    • 77 Metascore
    • 86 David Ehrlich
    A feral and staggeringly well-conceived revenge saga.

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