David Ehrlich

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For 201 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: 57
Highest review score: 100 Jafar Panahi's Taxi
Lowest review score: 0 Hillary's America: The Secret History of the Democratic Party
Score distribution:
  1. Positive: 91 out of 201
  2. Negative: 41 out of 201
201 movie reviews
    • 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
    It’s frustrating that West often scores with his few modest attempts to stamp his own imprint on the genre, as those flashes of fun hint at what this movie could have been.
    • 48 Metascore
    • 50 David Ehrlich
    You might as well be watching the last 15 minutes with your eyes closed, which is a shame, as the first half of Carnage Park makes a strong case that Keating is someone whose stuff is worth seeing.
    • 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.
    • 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.
    • 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.
    • 76 Metascore
    • 50 David Ehrlich
    Midnight Special eventually sputters to a conclusion that confuses vagueness for ambiguity. The most compelling questions it leaves behind don’t have to do with its plot but with its creator: How much time should a young director have to make good on his potential?
    • 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.
    • 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
    Qhile the 90-year-old Pennebaker doesn't appear to deviate from the observational aesthetic that has defined his life's work, Unlocking the Cage is nevertheless an ill-fitting first for he and his partner: an issue-based film.
    • 56 Metascore
    • 50 David Ehrlich
    Benoît Jacquot’s The Diary of a Chambermaid is a gorgeously mounted and dramatically inert bit of fluff that drapes itself over a smoldering Léa Seydoux but never manages to catch fire.
    • 64 Metascore
    • 50 David Ehrlich
    There's an undeniable anthropological value to Allen's footage — imagine if one of David Koresh's most-trusted disciples had recorded every second of his time in the Heaven's Gate — but his film is far more compelling as an artifact than it is as a narrative.
    • 75 Metascore
    • 50 David Ehrlich
    The bigger these movies become, the smaller they feel. The more aggressively they reach for greatness, the more clearly they prove that its beyond their grasp. Marvel movies don't get much better than this. The trouble is, they don't want to.
    • 54 Metascore
    • 48 David Ehrlich
    Palpably well-intentioned, The Secret Life of Walter Mitty is nevertheless phony to the core.
    • 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
    • 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.
    • 67 Metascore
    • 42 David Ehrlich
    It's a shame that the divine and human elements of this story are put into competition, because either one might have flourished on its own.
    • 53 Metascore
    • 42 David Ehrlich
    Too robust to sink into the rhythms of a character study, but too financially limited to tell a story that matches the sweep of its director’s vision, Free State of Jones is a film divided against itself, and it cannot stand.
    • 31 Metascore
    • 42 David Ehrlich
    Cruz is radiant in her role, finding inner strength even when the script pushes Magda towards blind hope, and finding pain even when Medem insists that cancer hits with all the force of a bad night's sleep.
    • 31 Metascore
    • 40 David Ehrlich
    Evans and Eve are always charming, but Brooke’s real-world problems ring false in a story held together by chintzy fatalism and the logic of a first draft.
    • 72 Metascore
    • 40 David Ehrlich
    The film quickly abandons any sort of broader cultural interest in favor of a typical womb-to-tomb, warts-and-all examination of recent history’s most visionary CEO.
    • 67 Metascore
    • 40 David Ehrlich
    A vividly told but crushingly literal dramatization of an event that’s in every psych textbook published during the last 40 years, Kyle Patrick Alvarez’s new film is compelling and useless in equal measure.
    • 70 Metascore
    • 40 David Ehrlich
    If Merchants of Doubt ultimately proves that good data doesn’t often make for good drama, it’s only because this doc is such a hollow slog.
    • 43 Metascore
    • 40 David Ehrlich
    Campy but never campy enough and far too numbingly artificial to ever drum up any real suspense or sense of awe, the film has a scale that's squandered on visual witlessness.
    • 40 Metascore
    • 40 David Ehrlich
    The film is cut together with the haphazard feel of a posthumously completed record, its ungainly structure a macrocosm of the awkwardness with which the individual scenes are Frankensteined together into a lumbering monster built from close-ups and music cues.
    • 62 Metascore
    • 40 David Ehrlich
    As Match wilts into a trite portrait of people who are at the mercy of their pasts, Belber’s menagerie of inexpressive shots leaves his film at the mercy of its own.
    • 50 Metascore
    • 40 David Ehrlich
    There’s no pleasure in trashing a film as humanistic and well-intentioned as Freeheld, but just because anyone would agree with its message doesn’t mean this glorified Lifetime movie does a worthy job of conveying it.
    • 47 Metascore
    • 40 David Ehrlich
    At The Devil’s Door is a frustrating display of craft desperately searching for purpose.
    • 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.
    • 36 Metascore
    • 40 David Ehrlich
    Unfortunately, the film’s sense of place is much more lucid than its sense of purpose.

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