For 162 reviews, this critic has graded:
  • 25% higher than the average critic
  • 1% same as the average critic
  • 74% lower than the average critic
On average, this critic grades 12.5 points lower than other critics. (0-100 point scale)

Ed Gonzalez's Scores

  • Movies
  • TV
Average review score: 50
Highest review score: 100 In the Mood for Love
Lowest review score: 12 Keeping Up with the Joneses
Score distribution:
  1. Positive: 57 out of 162
  2. Negative: 68 out of 162
162 movie reviews
    • 85 Metascore
    • 100 Ed Gonzalez
    In the Mood For Love is ravishing beyond mortal words.
    • 90 Metascore
    • 100 Ed Gonzalez
    Her
    A screwball surrealist comedy that asks us to laugh at an unconventional romance while also disarming us with the realization that its fantasy scenario isn't too far from our present reality.
    • 78 Metascore
    • 100 Ed Gonzalez
    Throughout, what truly matters to director Jonathan Glazer is articulating through visual and aural enticement the unconscious power of our death drive.
    • 96 Metascore
    • 100 Ed Gonzalez
    Miyazaki celebrates individualism and nature’s simple, untainted beauties, subsequently pondering the transcendent power of communication between the “inside” and the “outside.”
    • 93 Metascore
    • 100 Ed Gonzalez
    The film’s brilliance emanates equally from its structure (the story is delicately bookended by two cultural rituals: a wedding and a funeral), the acuteness of its gaze, and Yang’s acknowledgement of life as a series of alternately humdrum and catastrophic occurrences, like a flower that blooms in the summer and wilts in the fall; he hopes you will notice it, because seeing is what validates its unique extraordinariness.
    • 63 Metascore
    • 88 Ed Gonzalez
    Though it's as schematic in construction as Incendies, the film doesn't grind along to a ponderous plot; it's unnerving abstraction of its subject matter more daringly relays Villeneuve's view of the human cost of gender warfare.
    • 86 Metascore
    • 88 Ed Gonzalez
    Benh Zeitlin's lived-in, almost abstract sense of social realism is partly what makes the film so refreshing and uniquely affecting.
    • 77 Metascore
    • 88 Ed Gonzalez
    This lovely film is ultimately an articulation of something at once simple and universal: the discontent of traveling through life with sad resignation.
    • 78 Metascore
    • 88 Ed Gonzalez
    With The Devil's Backbone, Del Toro pulls an Amenábar by dishing out sophisticated war commentary with bone-chilling dread.
    • 77 Metascore
    • 88 Ed Gonzalez
    In its stripped-down realism and blistering fixation on its main character's grappling with life and mortality, the film is kin to Roberto Rossellini's collaborations with Ingrid Bergman.
    • 85 Metascore
    • 88 Ed Gonzalez
    Hero is elliptical, primal, radically disjointed, and female-empowering. Everything a wu xia should be…and then som
    • 78 Metascore
    • 88 Ed Gonzalez
    The Lost City of Z links every weathered look that Percy Fawcett throws to the heart of his spiritual yearning.
    • 97 Metascore
    • 88 Ed Gonzalez
    One hundred and six minutes is entirely too short a time span for Sheridan to cover Christy's entire life, but the performances are so profound they successfully fill in any and all gaps.
    • 86 Metascore
    • 88 Ed Gonzalez
    Radiating a startling intensity, the film demands to be reckoned with.
    • 71 Metascore
    • 75 Ed Gonzalez
    Leap Year is a story of survival, and its poised aesthetic is remarkably keyed to its main character's shell-like behavior.
    • 50 Metascore
    • 75 Ed Gonzalez
    If the series really does end here, may this final installment be hailed as a triumph of poetic justice.
    • 61 Metascore
    • 75 Ed Gonzalez
    One doesn't have to look too closely at Carnage's final shot to marvel at the way Polanski refuses to haughtily indict his audience in the pettiness of his characters' behavior.
    • 62 Metascore
    • 75 Ed Gonzalez
    It thrills in seeing dumb people getting their due in hyper-stylized displays of violence, and yet it never feels contemptuous of them.
    • 79 Metascore
    • 75 Ed Gonzalez
    More than just a relationship drama of striking specificity, this is a naked confession about addiction.
    • 58 Metascore
    • 75 Ed Gonzalez
    The film, still only clearing its throat, hints at a wellspring of emotional riches to come.
    • 70 Metascore
    • 75 Ed Gonzalez
    Raimi's script is riotously deadpan, his compositions undeniably breathtaking and inventive. [6 March 2002]
    • 53 Metascore
    • 75 Ed Gonzalez
    Passion is a serpentine, gorgeously orchestrated gathering of all of De Palma's pet themes and conceits, a symphony of giddy terror where people perpetually hide behind masks, both literal and figurative.
    • 47 Metascore
    • 75 Ed Gonzalez
    Its audio-visual overload testifies to a group of filmmakers' belief that some films are made to be remade.
    • 88 Metascore
    • 75 Ed Gonzalez
    Abdellatif Kechiche reveals through his sense of composition, and collaboration with his remarkable actresses, a sensitivity to emotional nuance that's striking.
    • 100 Metascore
    • 75 Ed Gonzalez
    Richard Linklater's film is an experiment in time, and one that's attentive to the audience's sense of empathy.
    • 76 Metascore
    • 75 Ed Gonzalez
    David's perversity as a character is mostly disarming for how it illuminates the sadness with which a foe can so readily be confused for a savior.
    • 89 Metascore
    • 75 Ed Gonzalez
    The Dardennes believe in human value and social order being rooted in a sense of solidarity, a staggering consciousness of community that brims with a sensitivity to place, movement, and emotion.
    • 81 Metascore
    • 75 Ed Gonzalez
    To dismiss it as simply an act of hipster appropriation is to cop out, because appropriation is the film's thematic meat.
    • 83 Metascore
    • 75 Ed Gonzalez
    Though visionary, David Robert Mitchell's film abounds in undigested ideas and dubious sexual politics.
    • 85 Metascore
    • 75 Ed Gonzalez
    Its triumph is primarily a matter of style, a visionary revelation every bit as expressionistic as its main character's electric sense of shade.

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