David Ehrlich

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For 118 reviews, this critic has graded:
  • 39% higher than the average critic
  • 0% same as the average critic
  • 61% lower than the average critic
On average, this critic grades 2.8 points lower than other critics. (0-100 point scale)

David Ehrlich's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 The Witch
Lowest review score: 0 Exists
Score distribution:
  1. Positive: 48 out of 118
  2. Negative: 23 out of 118
118 movie reviews
    • 49 Metascore
    • 39 David Ehrlich
    A slumming Spike Lee is still better than most directors at the top of their game, but Oldboy isn’t just Lee’s worst movie, it’s practically his “Wicker Man”.
    • 59 Metascore
    • 30 David Ehrlich
    The Railway Man is such a safe, respectful portrait of true-life catharsis that it feels afraid to reopen the same old wounds it exalts Lomax for confronting.
    • 29 Metascore
    • 30 David Ehrlich
    The film is so busy attending to all its people that it never manages to adequately serve any of them.
    • 48 Metascore
    • 30 David Ehrlich
    The jokes are few and far between, and the film lacks the spark of imagination required to engage meaningfully with young viewers... but Fire & Rescue is a competent distraction all the same, mostly on the strength of its non-threateningly round animation and magic-hour color palette.
    • 50 Metascore
    • 30 David Ehrlich
    Ultimately, the lackluster fight scenes are what make 14 Blades a disposable addition to the wu xia world.
    • 26 Metascore
    • 30 David Ehrlich
    Ostensibly a lame treatise on how slippery self-image can be in the Internet age, the film ultimately reveals itself as a much lamer treatise on the evil sorcery of female sexuality.
    • 55 Metascore
    • 30 David Ehrlich
    Lewins’ reductively humanist approach is at odds with how distanced the movie feels from any trace of a real human at its core.
    • 22 Metascore
    • 21 David Ehrlich
    The film blinks too fast to maintain a coherent vision.
    • 19 Metascore
    • 20 David Ehrlich
    Forget that The Lovers doesn’t have the courtesy to be fun; no cosmic romance should be so deeply afraid to shoot for the stars. As one of the film’s many forgettable characters so eloquently puts it, “This stinks worse than an oyster’s fart.”
    • 30 Metascore
    • 20 David Ehrlich
    Can a single guitar riff tell you everything you need to know about a movie? The dreadful Kill Me Three Times, which has nothing to offer beyond some aerial looks at the white-and-turquoise beaches of Western Australia, opens with a power chord so cheesy and generic that it immediately identifies this story of amateur criminals as the charmless ’90s throwback that it is.
    • 38 Metascore
    • 20 David Ehrlich
    Entourage can’t muster enough conflict for a podcast, let alone a feature.
    • 34 Metascore
    • 20 David Ehrlich
    These charmless characters are meant to learn that spending time with each other isn’t so bad, yet surviving 100 minutes with them is one of the great cinematic endurance tests of our time.
    • 56 Metascore
    • 20 David Ehrlich
    Cross-cutting the story of a cancer victim who’s struggling to maintain her agency with the story of the woman who’s trying to cure her should compellingly enhance both threads, but Bernstein refuses to take advantage of his film’s structure and draw meaningful connections between the two.
    • 18 Metascore
    • 20 David Ehrlich
    As fresh as a stiff tissue and even less appealing, the film takes its cues from so many disparate sources, it almost feels like an accidental spoof.
    • 19 Metascore
    • 20 David Ehrlich
    Although the live-action Kite has been graphically desexualized, the anime’s exploitative attitude nevertheless prevails, made all the more prominent by the film’s refusal to engage with it directly.
    • 56 Metascore
    • 16 David Ehrlich
    Like all of the very worst dark comedies, Jon S. Baird’s insipid and self-satisfied Filth isn’t content to merely tap into viewers’ most odious desires. It also insist that it’s revealing them.
    • 54 Metascore
    • 10 David Ehrlich
    A stagnant portrait of the degradation that envelops those fortunate enough to live so long, the film desperately tries to mine sweetness from the banality of life’s endgame, but the falseness of its bittersweet storytelling only accentuates the misery.
    • 19 Metascore
    • 10 David Ehrlich
    Young and Bamberger’s insultingly trite bro comedy is too content with the stink of its own reprocessed garbage to serve as anything more than a reminder that some actors should be in better films, and some producers shouldn’t be involved in any of them.
    • 25 Metascore
    • 10 David Ehrlich
    After is essentially The Room of 9/11 movies, a position that was really best left unfilled. Its heart might be in the right place, but that gulf between pain and understanding has never been clearer, and might now be even wider than it was before.
    • 28 Metascore
    • 5 David Ehrlich
    Insufferably boring, culturally hegemonic, and profoundly ugly.
    • 15 Metascore
    • 0 David Ehrlich
    Graced with a hilariously definitive title, America is astonishingly facile, a film comprised entirely of straw man arguments.
    • 22 Metascore
    • 0 David Ehrlich
    The Moment is a stilted, asinine Hitchcockian exercise that ultimately serves as little more—and often considerably less—than a needless reminder of how difficult it is to execute this kind of material.
    • 22 Metascore
    • 0 David Ehrlich
    Exists isn’t a found-footage horror movie about Bigfoot experts; it’s one about a group of stranded cinematographers. Just kidding, it’s obviously about a group of stupid young people who couldn’t shoot a competent Vine, let alone a visually coherent feature.

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