For 42 reviews, this critic has graded:
  • 40% higher than the average critic
  • 0% same as the average critic
  • 60% lower than the average critic
On average, this critic grades 4.6 points lower than other critics. (0-100 point scale)

David Ehrlich's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 89 Captain Phillips
Lowest review score: 0 The Moment
Score distribution:
  1. Positive: 20 out of 42
  2. Negative: 12 out of 42
42 movie reviews
    • 83 Metascore
    • 89 David Ehrlich
    While this is arguably Greengrass’ best film, it’s almost certainly his most urgent.
    • 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.
    • 70 Metascore
    • 87 David Ehrlich
    An instantly and enduringly compelling documentary.
    • 77 Metascore
    • 86 David Ehrlich
    A feral and staggeringly well-conceived revenge saga.
    • 78 Metascore
    • 85 David Ehrlich
    When Allen conceives of a character this great, it’s hard not to wish for him to slow down and maybe write that extra draft to refine his creation, but Blanchett – at once both repellant and eminently relatable – uses the casual tone to her advantage, the same way that monster movies use miniatures for scale.
    • 75 Metascore
    • 85 David Ehrlich
    The human imperative informs every aspect of After Tiller, resulting in an unexpectedly warm film.
    • 86 Metascore
    • 83 David Ehrlich
    Effectively portrays New York City as a cacophonous collision of disparate voices, sidestepping the nightmarish outcome of that child’s story in favor of a different, more enduringly visible disaster.
    • 65 Metascore
    • 83 David Ehrlich
    Rossi’s scathing (yet seemingly fair) documentary doesn’t just illustrate the institutional ironies of modern education. It also strives to understand why tuition is at an all-time high when knowledge is practically free.
    • 60 Metascore
    • 82 David Ehrlich
    Denis Villeneuve’s Enemy might have the scariest ending of any film ever made.
    • 65 Metascore
    • 81 David Ehrlich
    The Visitor might be a hot mess, the byproduct of tailspinning egos and the best drugs movie money could buy in the late 70s, but it certainly isn’t an accident.
    • 90 Metascore
    • 80 David Ehrlich
    Her
    If Her is ultimately better at considering the future than it is at taking us there, it resonates as an insightful reminder that love isn’t obsolete quite yet.
    • 81 Metascore
    • 80 David Ehrlich
    The film is essentially a war of attrition between emotion and pragmatism, the rare thriller fueled by stress rather than speed.
    • 71 Metascore
    • 77 David Ehrlich
    If Tom at the Farm is occasionally impenetrable as a drama, it’s seldom less than gripping as an exercise in suspense, especially when Dolan’s precise sense of timing revitalizes otherwise familiar moments.
    • 73 Metascore
    • 75 David Ehrlich
    It’s curious that The Fake Case works best as a dark comedy, with one particularly memorable scene finding Ai sneaking up on a couple of newlyweds as they have their wedding photos taken and snapping a few of his own.
    • 52 Metascore
    • 75 David Ehrlich
    What ultimately helps Citizen Koch rise above the dozens of other movies like it is a focus not just on recent developments in American politics, but also on the bedrock of what has made this country such an enduringly great, astoundingly troubled experiment: one person, one vote.
    • 61 Metascore
    • 72 David Ehrlich
    The F Word would be commendable on the strength of its unusual wit and warmth alone, but it becomes a far more satisfying (even somewhat illuminating) experience because it doesn’t shy away from the often ugly psychology engendered by cross-gendered friendships.
    • 75 Metascore
    • 70 David Ehrlich
    While The Retrieval’s sense of place may ultimately be stronger than its sense of purpose, it works as the story of a young boy realizing his agency, and it galvanizes as the story of an independent filmmaker realizing another portion of his medium’s infinite potential.
    • 67 Metascore
    • 70 David Ehrlich
    Korengal isn’t a profound portrait of people fighting for our freedom, but a modest look at the human engine of the military-industrial complex.
    • 73 Metascore
    • 70 David Ehrlich
    Transitioning from Reservoir Dogs to From Dusk Till Dawn with a lunatic’s grace, Witching & Bitching resolves itself as a gloriously gory civil war between men and the grotesquely literal manifestations of how the worst of them see the fairer sex.
    • 69 Metascore
    • 67 David Ehrlich
    Clumsy metaphors and contrived attempts to articulate Frankie’s fears—especially as he awaits the results of the titular test—diminish the emotional authenticity engendered by Daniel Marks’ hyper-real cinematography and the film’s incisively curated soundtrack.
    • 68 Metascore
    • 60 David Ehrlich
    It may not be for all tastes, but there’s genuine value in a feel-good film that works this well without making viewers feel bad first.
    • 57 Metascore
    • 60 David Ehrlich
    Me And You is palpably frail cinema, its every movement heavy with its director’s strain and the reluctance of a kid shuffling off to do his chores. And yet it’s also compellingly clear that the movie has restored Bertolucci’s strength, just as it’s easy to see why this particular story was able to reach into the depths and rescue a titan of Italian cinema from his darkness.
    • 45 Metascore
    • 58 David Ehrlich
    Here’s a film that knowingly and transparently exists for little reason other than to let the 83-year-old actor bow out in a blaze of glory. And though A Night In Old Mexico won’t be Duvall’s last screen performance, it’s as fitting a farewell as he’s likely to get.
    • 56 Metascore
    • 50 David Ehrlich
    For No Good Reason is an absolute mess from start to finish, a portrait of an artist that’s almost rendered redundant by his art. And yet, for all its failings, the film is engagingly in tune with the man who inspired it.
    • 63 Metascore
    • 50 David Ehrlich
    Sporadically amusing and sprinkled with a fine silt of truth that helps elevate Niko above the movie around him, A Coffee In Berlin is at its best when it rolls up the blueprints and lets its hero figure things out for himself.
    • 68 Metascore
    • 50 David Ehrlich
    While Land Ho! feels like a direct extension of its characters, with sedate compositions that are a far cry from the youthful opportunism steering the camera in Katz’s previous films, the uncharacteristic transparency of its agenda clashes with the joy of discovery its story craves.
    • 40 Metascore
    • 50 David Ehrlich
    Overlong and lacking a single believable moment, Make Your Move is nevertheless a sweet reminder that anyone can dance together, so long as they aren’t fighting over who should lead.
    • 52 Metascore
    • 50 David Ehrlich
    Ahluwalia’s commitment to accurately capturing the era’s aesthetic almost compensates for his failure to mine a good story from a great setting.
    • 54 Metascore
    • 48 David Ehrlich
    Palpably well-intentioned, The Secret Life of Walter Mitty is nevertheless phony to the core.
    • 52 Metascore
    • 40 David Ehrlich
    Like a stale Big Mac served in gold leaf, Taihuttu’s film offers up some central meat that never matches the aspiration of its textured flourishes.