David Ehrlich

Select another critic »
For 200 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 3.2 points lower than other critics. (0-100 point scale)

David Ehrlich's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Hail, Caesar!
Lowest review score: 0 Mother's Day
Score distribution:
  1. Positive: 90 out of 200
  2. Negative: 41 out of 200
200 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 58 Metascore
    • 91 David Ehrlich
    One of the greatest comedy sequels ever made.
    • 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.
    • 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.
    • 74 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.
    • 70 Metascore
    • 83 David Ehrlich
    There's an undeniable genius at work here, strong enough to survive the psychedelic sleaze that's been baked into every frame.
    • 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.
    • 83 Metascore
    • 83 David Ehrlich
    By sprinting through 50 years of features so fast that each of them ultimately feels like a single frame rattling through a projector, they blur De Palma’s body of work into a moving truth that none of his individual films has ever crystallized with such clarity: The movies are real-life; the great filmmakers are the ones who never let you forget that.
    • 71 Metascore
    • 83 David Ehrlich
    Dare to peek under the scales of this wholly original and ominously enchanting nightmare, and you’ll find a simple story about the things that society forces a girl to give up if she wants to be part of our world.
    • 58 Metascore
    • 83 David Ehrlich
    Collet-Serra ensures that we feel the risk of every stroke between his heroine and her safety. The action is visceral and immediate, but crucially contextualized by a helpful array of wide shots and bird’s-eye views.
    • 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.
    • 79 Metascore
    • 83 David Ehrlich
    Sing Street is a winsomely entertaining musical tribute to how passion can pave the way towards a better life.

Top Trailers