David Ehrlich

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For 153 reviews, this critic has graded:
  • 41% higher than the average critic
  • 1% same as the average critic
  • 58% lower than the average critic
On average, this critic grades 2.5 points lower than other critics. (0-100 point scale)

David Ehrlich's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 The Tale of The Princess Kaguya
Lowest review score: 0 The Moment
Score distribution:
  1. Positive: 66 out of 153
  2. Negative: 30 out of 153
153 movie reviews
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 91 Metascore
    • 100 David Ehrlich
    This spry, sharp and relentlessly clever middle finger to censorship is Panahi’s boldest act of defiance to date.
    • 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
    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.
    • 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.
    • 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.
    • 77 Metascore
    • 83 David Ehrlich
    The Expedition To The End Of The World courses with the zeal of Robert Flaherty, the fearlessness of Werner Herzog, and the fatalistic humor of Lars Von Trier. While individual moments echo with a familiarly mordant sense of alpha-male adventure, together they cohere into something wild and new.
    • 75 Metascore
    • 83 David Ehrlich
    Brizé ("Mademoiselle Chambon") is a humanist, not an economist, and his modest but moving new film is a welcome reminder that — for someone who can't afford to put food on the table or provide a proper education for their child— business is always personal.
    • 79 Metascore
    • 83 David Ehrlich
    Sing Street is a winsomely entertaining musical tribute to how passion can pave the way towards a better life.
    • 65 Metascore
    • 83 David Ehrlich
    At heart, King Cobra compellingly traces the palpable tension between the performative nature of gay porn and the privacy of queer shame.
    • 61 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.
    • 52 Metascore
    • 80 David Ehrlich
    Fashioning "The Great Dictator" and "Inglourious Basterds" into a cross joint and then lighting it from both ends, Goldberg and Rogen’s second directorial effort follows the hysterically violent misadventures of idiotic talk-show host Dave Skylark (James Franco, hamming it up) and his underachieving producer, Aaron (Rogen).
    • 74 Metascore
    • 80 David Ehrlich
    What begins as a spirited but safely familiar pastiche of John Hughes and Wes Anderson is compelled to become its own thing, Gomez-Rejon’s film embracing the most tired tropes of stereotypical YA weepies so that it can kiss them goodbye.
    • 68 Metascore
    • 80 David Ehrlich
    The stakes may seem low, but these high jinks resound with abstract generational import, the various episodes cohering into a moving portrait of a nation that couldn’t account for all it had lost in a war that it won.

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