David Ehrlich

Select another critic »
For 204 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 points lower than other critics. (0-100 point scale)

David Ehrlich's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Sunset Song
Lowest review score: 0 Mother's Day
Score distribution:
  1. Positive: 93 out of 204
  2. Negative: 41 out of 204
204 movie reviews
    • 70 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.
    • 71 Metascore
    • 67 David Ehrlich
    Rodrigo Plá's intermittently engaging A Monster With a Thousand Heads is unique for how it captures the urgency of a system that's designed to frustrate and confuse people into helplessness.
    • 48 Metascore
    • 60 David Ehrlich
    The action is never topsy-turvy enough for 13 Hours to be mistaken for a Paul Greengrass film, but it’s also not so operatic that it feels like Bay is turning a tragedy into Bad Boys III.
    • 69 Metascore
    • 60 David Ehrlich
    The heat [Chow] conjures between his leads never rises above a low boil. That’s because Chow never bothers to pretend as if the romance really matters —it’s merely an excuse for a parade of blisteringly clever comic set pieces.
    • 46 Metascore
    • 60 David Ehrlich
    Fifty Shades of Grey is a sex-positive but hopelessly soft-core erotic drama that fails to be even a fraction as titillating as the E.L. James books that inspired it. And yet, that’s exactly why it works.
    • 73 Metascore
    • 60 David Ehrlich
    Urushadze’s excellent cast imbues their thinly drawn characters with a great deal of life, but the roles are so transparent that the film feels like more of an advertisement for peace than it does an argument for it.
    • 84 Metascore
    • 60 David Ehrlich
    Horse Money is an ordeal, but you’ll be glad that Costa was there to help Ventura’s words find their way through the cracks.
    • 64 Metascore
    • 60 David Ehrlich
    It hurts that most of the jokes fall short of their potential, especially because Headland refuses to milk easy laughs by winking at genre clichés, but her decision to play things straight helps clarify a truth at the heart of movies like this.
    • 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.
    • 72 Metascore
    • 60 David Ehrlich
    The elliptical story of sibling despondency doesn’t quite hang together, though the groundswell of missed potential doesn’t come into focus until the film’s undeniably powerful closing moments.
    • 56 Metascore
    • 60 David Ehrlich
    This is a bleak and bitter movie, but it knows the way forward, if not the quickest way to get there.
    • 56 Metascore
    • 60 David Ehrlich
    Any insight into Escobar’s relationship with the people of his country is sacrificed in the trade-off — Nick sees him as a charismatic Robin Hood who showers the poor in blood money that’s still dripping wet, but the film forgets the complexity of Escobar’s politics as soon as Nick realizes that he needs to escape. If only Paradise Lost gave us a better sense of what he was leaving behind.
    • 48 Metascore
    • 60 David Ehrlich
    MacFarlane’s preference for quantity over quality results in a lot of dead air, but the gags that land are howlers, and all of its crudeness (and racism, and sexism, and homophobia, etc.), the movie beats with a real heart.
    • 66 Metascore
    • 60 David Ehrlich
    All Is By My Side ends just as Hendrix is coming into his glory, but Ridley’s film—a remarkable showcase for Benjamin’s acting talent, and a terrible application of what Werner Herzog called “ecstatic truth”—is in the end a tragedy.
    • 83 Metascore
    • 60 David Ehrlich
    Wenders’s reverent enthusiasm for his subject is evident throughout the film, and he details every chapter of Salgado’s life with an acolyte’s inability to separate the wheat from the chaff.
    • 47 Metascore
    • 60 David Ehrlich
    Unfortunately, this austere allegory for the difficult process by which kids start to think for themselves only hints at the turbulence of its characters, who are kept at too far a remove for us to feel their growing pains.
    • 60 Metascore
    • 60 David Ehrlich
    Whatever the film’s virtues, subtlety was never going to be one of them.
    • 76 Metascore
    • 60 David Ehrlich
    A dryly amusing mockumentary from the Kiwis behind the similarly deadpan Eagle vs Shark and Flight of the Conchords, What We Do in the Shadows unfolds like the darkest movie that Christopher Guest never made.
    • 75 Metascore
    • 60 David Ehrlich
    Spy
    Though it’s been two years since they collaborated on "The Heat," Spy makes the case that Feig and McCarthy are still just warming up.
    • 73 Metascore
    • 60 David Ehrlich
    Results is the work of an elusive talent who’s built his entire career on the strength of his curveball. This seriocomedy of self-improvement clarifies how all of Bujalski’s stories are unified by characters who are trying to camouflage their loneliness.
    • 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.
    • 53 Metascore
    • 60 David Ehrlich
    The plot is too erratic and incoherent to follow, but the constant barrage of noises and colors is more than enough to keep kids entertained.
    • 64 Metascore
    • 60 David Ehrlich
    Rudd’s affable wit makes him a perfect choice for the part. But his performance is uncharacteristically inhibited, as if he felt there was too much at stake to try something new.
    • 74 Metascore
    • 60 David Ehrlich
    Combining the knowingly arch style of Abbas Kiarostami (whose "Certified Copy" towers over and belittles this film) with the didactically educational passion of your favorite art professor, La Sapienza alternately feels like a self-reflexive love story or a haunted history lesson—its best scenes play like both.
    • 69 Metascore
    • 60 David Ehrlich
    Spring isn’t coy about the fact that Louise is harboring a dark secret, and the film’s appeal is rooted in its refreshing eagerness to focus on aspects that most monster movies would think too human.
    • 52 Metascore
    • 60 David Ehrlich
    Henry Hobson’s zombie movie does for coping with terminal illness what "Dawn of the Dead" did for consumerism, the difference here being that Hobson isn’t interested in satire, only sadness. Oh, and he’s got Arnold Schwarzenegger.
    • 58 Metascore
    • 58 David Ehrlich
    Low Down keeps the histrionics to a minimum, but the inertia of a good man failing to be a good father isn’t enough to sustain nearly two hours of reflection, especially when Preiss consistently suggests that telling Amy’s story from Joe’s perspective would have made for a much better film.
    • 66 Metascore
    • 58 David Ehrlich
    Although Advanced Style is little more than a string of small profiles that broadly cohere into anti-ageist propaganda, it’s nevertheless a cogent reminder that people are so often defined by the things they need that it’s easy to dismiss the things that they don’t.
    • 56 Metascore
    • 58 David Ehrlich
    There’s just enough history about lucha libre to make you curious to learn more.
    • 52 Metascore
    • 58 David Ehrlich
    Nearly (but not quite) redeemed by its good nature and the megaton charisma of its two stars, Central Intelligence is a dopey blockbuster diversion that will surely keep United Airlines passengers entertained during the dog days of summer.

Top Trailers