David Ehrlich
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For 65 reviews, this critic has graded:
  • 35% higher than the average critic
  • 0% same as the average critic
  • 65% lower than the average critic
On average, this critic grades 5.4 points lower than other critics. (0-100 point scale)

David Ehrlich's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 The Tale of Princess Kaguya
Lowest review score: 0 The Moment
Score distribution:
  1. Positive: 29 out of 65
  2. Negative: 19 out of 65
65 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.
    • 77 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.
    • 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.
    • 71 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.
    • 60 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.
    • 81 Metascore
    • 80 David Ehrlich
    The film is essentially a war of attrition between emotion and pragmatism, the rare thriller fueled by stress rather than speed.
    • 90 Metascore
    • 80 David Ehrlich
    The ultimate value of the famed filmmaker’s latest documentary—a subject National Gallery turns into a reflexive concern—is not that Wiseman makes it possible for a broader audience to see these priceless works of art, but that the scope of his project invites all audiences to look at them through an illuminating new lens.
    • 71 Metascore
    • 77 David Ehrlich
    If Tom at the Farm is occasionally impenetrable as a drama, it’s seldom less than gripping as an exercise in suspense, especially when Dolan’s precise sense of timing revitalizes otherwise familiar moments.
    • 73 Metascore
    • 75 David Ehrlich
    It’s curious that The Fake Case works best as a dark comedy, with one particularly memorable scene finding Ai sneaking up on a couple of newlyweds as they have their wedding photos taken and snapping a few of his own.
    • 52 Metascore
    • 75 David Ehrlich
    What ultimately helps Citizen Koch rise above the dozens of other movies like it is a focus not just on recent developments in American politics, but also on the bedrock of what has made this country such an enduringly great, astoundingly troubled experiment: one person, one vote.
    • 82 Metascore
    • 75 David Ehrlich
    If Miracle can be thought of as "Flags Of Our Fathers: On Ice," Red Army is its "Letters From Iwo Jima." Gabe Polsky’s film humanizes the players of the Soviet Union national team, who were humiliated by a ragtag crew of amateur college kids during the most internationally politicized game in the history of American sports.
    • 59 Metascore
    • 72 David Ehrlich
    The F Word would be commendable on the strength of its unusual wit and warmth alone, but it becomes a far more satisfying (even somewhat illuminating) experience because it doesn’t shy away from the often ugly psychology engendered by cross-gendered friendships.
    • 75 Metascore
    • 70 David Ehrlich
    While The Retrieval’s sense of place may ultimately be stronger than its sense of purpose, it works as the story of a young boy realizing his agency, and it galvanizes as the story of an independent filmmaker realizing another portion of his medium’s infinite potential.
    • 67 Metascore
    • 70 David Ehrlich
    Korengal isn’t a profound portrait of people fighting for our freedom, but a modest look at the human engine of the military-industrial complex.
    • 73 Metascore
    • 70 David Ehrlich
    Transitioning from Reservoir Dogs to From Dusk Till Dawn with a lunatic’s grace, Witching & Bitching resolves itself as a gloriously gory civil war between men and the grotesquely literal manifestations of how the worst of them see the fairer sex.
    • 76 Metascore
    • 70 David Ehrlich
    Keep On Keepin’ On is packaged like a standard-issue music documentary—albeit one with an unusually palpable affection for its subject—but Alan Hicks’ debut feature resonates as a beautiful illustration of how people can find each other.
    • 64 Metascore
    • 70 David Ehrlich
    Canopy most convincingly creates the illusion of war when it narrows its eyes on the two men trying to endure it, and the urgency on their underlit faces is more transportive than the canned sounds of mortar fire.
    • 69 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 45 Metascore
    • 58 David Ehrlich
    Here’s a film that knowingly and transparently exists for little reason other than to let the 83-year-old actor bow out in a blaze of glory. And though A Night In Old Mexico won’t be Duvall’s last screen performance, it’s as fitting a farewell as he’s likely to get.
    • 61 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
    • 50 David Ehrlich
    For No Good Reason is an absolute mess from start to finish, a portrait of an artist that’s almost rendered redundant by his art. And yet, for all its failings, the film is engagingly in tune with the man who inspired it.
    • 63 Metascore
    • 50 David Ehrlich
    Sporadically amusing and sprinkled with a fine silt of truth that helps elevate Niko above the movie around him, A Coffee In Berlin is at its best when it rolls up the blueprints and lets its hero figure things out for himself.
    • 68 Metascore
    • 50 David Ehrlich
    While Land Ho! feels like a direct extension of its characters, with sedate compositions that are a far cry from the youthful opportunism steering the camera in Katz’s previous films, the uncharacteristic transparency of its agenda clashes with the joy of discovery its story craves.
    • 40 Metascore
    • 50 David Ehrlich
    Overlong and lacking a single believable moment, Make Your Move is nevertheless a sweet reminder that anyone can dance together, so long as they aren’t fighting over who should lead.
    • 52 Metascore
    • 50 David Ehrlich
    Ahluwalia’s commitment to accurately capturing the era’s aesthetic almost compensates for his failure to mine a good story from a great setting.
    • 54 Metascore
    • 48 David Ehrlich
    Palpably well-intentioned, The Secret Life of Walter Mitty is nevertheless phony to the core.
    • 52 Metascore
    • 42 David Ehrlich
    Blandly directed by "The Devil Wears Prada"-helmed David Frankel, One Chance lacks the middlebrow polish that has made his films such reliably re-watchable cable-TV fodder.
    • 47 Metascore
    • 42 David Ehrlich
    Open Windows attempts to disguise a revenge movie by cloaking it in the flash of a voyeuristic techno-thriller, but the combined concepts are so high that the film resolves as Vigalondo reaches his Icarus moment, the corpse so mangled and unpleasant the project’s ambition can only be identified via dental records.
    • 52 Metascore
    • 40 David Ehrlich
    Like a stale Big Mac served in gold leaf, Taihuttu’s film offers up some central meat that never matches the aspiration of its textured flourishes.
    • 47 Metascore
    • 40 David Ehrlich
    At The Devil’s Door is a frustrating display of craft desperately searching for purpose.
    • 36 Metascore
    • 40 David Ehrlich
    Unfortunately, the film’s sense of place is much more lucid than its sense of purpose.
    • 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.
    • 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.
    • 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.
    • 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.
    • 50 Metascore
    • 30 David Ehrlich
    Ultimately, the lackluster fight scenes are what make 14 Blades a disposable addition to the wu xia world.
    • 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.
    • 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.
    • 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.
    • 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
    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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