David Ehrlich

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For 122 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 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 Kingdom of Dreams and Madness
Lowest review score: 0 The Moment
Score distribution:
  1. Positive: 50 out of 122
  2. Negative: 23 out of 122
122 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.
    • 90 Metascore
    • 100 David Ehrlich
    The Witch is one of the most genuinely unnerving horror films in recent memory because Eggers has the guts to earn your fear.
    • 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.
    • 89 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.
    • 86 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.
    • 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.
    • 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.
    • 67 Metascore
    • 80 David Ehrlich
    Wild Canaries may be modest stuff, but its madcap misadventures are loaded with honesty, and it earns the conclusion that love never feels like a cage when you fly with the right flock.
    • 70 Metascore
    • 80 David Ehrlich
    Stearns saddles himself with a touch more plot than he needs, and some of the film’s late-game twists are more satisfying than others, but Faults never loses sight of the one thing Ansel can’t see: Free will may come cheap, but most people still can’t afford it.
    • 83 Metascore
    • 80 David Ehrlich
    Seymour unfolds like a Jewish Jiro Dreams of Sushi—Bernstein may look like your average NYC grandpa, but he lives like a monk and talks like a guru.
    • 69 Metascore
    • 80 David Ehrlich
    A rare delight that’s laced with melancholy and a suffocating sense of menace from its first scene straight through its shocking finale, Man From Reno is made special by the collisions between its characters.
    • 82 Metascore
    • 80 David Ehrlich
    Tsai’s work sees generational defiance as a symptom of the ennui felt by their young subjects as they drift into adulthood, and Rebels’ unusually sharp focus on that theme makes it an accessible primer for the elements that would inform the more oblique masterpieces to come.

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