David Ehrlich
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For 104 reviews, this critic has graded:
  • 39% higher than the average critic
  • 1% same as the average critic
  • 60% lower than the average critic
On average, this critic grades 2.1 points lower than other critics. (0-100 point scale)

David Ehrlich's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Mistress America
Lowest review score: 0 The Moment
Score distribution:
  1. Positive: 46 out of 104
  2. Negative: 21 out of 104
104 movie reviews
    • 22 Metascore
    • 21 David Ehrlich
    The film blinks too fast to maintain a coherent vision.
    • 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.
    • 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.
    • 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.”
    • 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.
    • 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.
    • 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
    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.
    • 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.

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