For 56 reviews, this critic has graded:
  • 32% higher than the average critic
  • 0% same as the average critic
  • 68% lower than the average critic
On average, this critic grades 5.1 points lower than other critics. (0-100 point scale)

Ed Gonzalez's Scores

  • Movies
Average review score: 54
Highest review score: 100 Her
Lowest review score: 12 Enemies Closer
Score distribution:
  1. Positive: 26 out of 56
  2. Negative: 18 out of 56
56 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.
    • 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.
    • 76 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.
    • 47 Metascore
    • 75 Ed Gonzalez
    Its audio-visual overload testifies to a group of filmmakers' belief that some films are made to be remade.
    • 52 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.
    • 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.
    • 86 Metascore
    • 63 Ed Gonzalez
    The film exudes a sense of fleetingness; however static these lives may be, Tian's narrative perfectly evokes a changing season.
    • 64 Metascore
    • 63 Ed Gonzalez
    Guillermo del Toro doesn't rise above the obligations of staging a film of this sort as a multi-level video game, a stylish but programmatic ride toward an inevitable final boss battle.
    • 74 Metascore
    • 63 Ed Gonzalez
    Possibly year's most immaculate-looking drivel, a prismatically shot whodunit abundant in red herrings, but lacking in moral contemplation.
    • 58 Metascore
    • 63 Ed Gonzalez
    Throughout To the Wonder, the new and old are incessantly twinned, blurred into a package that suggests an experimental dance piece.
    • 66 Metascore
    • 63 Ed Gonzalez
    Forlorn depictions of love and death may dignify Neil Jordan's film, but narrative withholding ultimately drives a stake into its unmistakable heart.
    • 69 Metascore
    • 63 Ed Gonzalez
    Carlos Reygadas's latest, an almost impossibly intellectual film, keeps us at a remove that's as striking as that which separates its main character from the lower classes.
    • 52 Metascore
    • 63 Ed Gonzalez
    Matthias Hoene allows the cockney swears to flow as deliriously as the truly convincing blood splatter, offering a few unexpected gut-busters along the way.
    • 68 Metascore
    • 63 Ed Gonzalez
    Una Noche tugged at my heartstrings, but the film's almost phantasmagoric fixation on sex can feel crass and dehumanizing.
    • 62 Metascore
    • 63 Ed Gonzalez
    Bobcat Goldthwait exposes the characteristic male pursuit of power to which females are often made subservient.
    • 81 Metascore
    • 63 Ed Gonzalez
    The literalizing of Ivan Locke's hidden self and his inability to master it ultimately exposes the film as the squarest kind of theater: drama therapy.
    • 41 Metascore
    • 63 Ed Gonzalez
    If the stock concessions made to genre cliché by The Woman in Black can be charitably viewed as deliberate tips of the hat to the heyday of Hammer Films, then John Pogue's period-set exorcism yarn The Quiet Ones more interestingly upends those tropes.
    • 49 Metascore
    • 63 Ed Gonzalez
    DeMonaco may doubly, sometimes triply, underline the story's governing theme of social power and how it's exchanged, but the rage and lucidity of these ideas resonate.
    • 62 Metascore
    • 63 Ed Gonzalez
    Eugenio Mira thrills in watching his main character attempt to worm his way out of a most unusual hostage situation, synching his indulgences of style to the pianist's wily physical maneuvering.
    • 73 Metascore
    • 63 Ed Gonzalez
    While Jim Mickle's compositions lose much of their verve in the film's later half, his regard for the analog does not--and at the expense of perspective into his characters' emotional torque.
    • 61 Metascore
    • 63 Ed Gonzalez
    Through a mini-triumph of montage, what begins as run-of-the-mill backstory vomit is thrillingly repackaged as an almost-Lynchian duet between warring states of consciousness.
    • 48 Metascore
    • 63 Ed Gonzalez
    The film is dizzyingly creepy in its refracting of horrors through the cascading windows of computer programs we've come to understand more intimately than our own selves.
    • 71 Metascore
    • 63 Ed Gonzalez
    It keeps us at a remove that becomes telling of the filmmaker's reticence to explore whatever feelings of isolation and yearning may inform his main character's grisly compulsion.
    • 52 Metascore
    • 50 Ed Gonzalez
    Every shot is painstakingly thought out, but less emphasis is placed on the human face than on the surfaces that reflect it and the objects that obscure it, and the overall effect is close to that of fetish art.
    • 97 Metascore
    • 50 Ed Gonzalez
    Steve McQueen's film practically treats Solomon Norhtup as passive observer to a litany of horrors that exist primarily for our own education.
    • 68 Metascore
    • 50 Ed Gonzalez
    Though The Conjuring claims to be based on a true story, in truth it's based on every horror film that's come before it.
    • 48 Metascore
    • 50 Ed Gonzalez
    Xan Cassavetes cops to nothing more significant than being more keen on Vampyros Lesbos than anyone else from her clan of famous cinephiles.
    • 65 Metascore
    • 50 Ed Gonzalez
    Opting for inspiration over insight, Venus and Serena is a starry-eyed pop documentary that cannot transcend its scattershot, for-fans-only filmmaking.
    • 40 Metascore
    • 50 Ed Gonzalez
    Its stance toward every dipshit slasher and creature-horror flick that's come before it never feels less than casually hostile.
    • 64 Metascore
    • 50 Ed Gonzalez
    The film is beholden to a strange internal logic that gives primacy not to its protagonist's suffering, but to its maker's thirst for fun.
    • 56 Metascore
    • 50 Ed Gonzalez
    Charlie Paul isn't content to let his stock footage and interviewees lead for him, driven as he is to "make something out of a frame of mind," though to needlessly busy effect.
    • 53 Metascore
    • 50 Ed Gonzalez
    The constant foregrounding of so much well-executed incident only works to shortchange the heroes' yearnings and anxieties.
    • 53 Metascore
    • 50 Ed Gonzalez
    The titular signal refers to the Nomad hacker's taunts, though it may as well point to the film's nature as a self-styled calling card.
    • 38 Metascore
    • 50 Ed Gonzalez
    That it half succeeds, in spite of its cloying self-seriousness, means that it's at best a convincing copycat of a definitive expression of ego and influence in art.
    • 67 Metascore
    • 50 Ed Gonzalez
    The result is an alternately gripping and dully meandering patchwork of these soldiers' stay in the Korengal that pointedly shuns big-picture philosophizing.
    • 29 Metascore
    • 38 Ed Gonzalez
    Remarkably, the highlight of Benson Lee's film, essentially a fiction reboot of his Planet B-Boy, isn't the scene where Chris Brown gets punched in the face.
    • 41 Metascore
    • 38 Ed Gonzalez
    A rote home-invasion thriller afraid to be seen as just another rote home-invasion thriller, the film turgidly grasps for profundity by framing bloodlust as patriotic duty.
    • 14 Metascore
    • 38 Ed Gonzalez
    One wishes it had spared us the remedial theorizing on media culture and artistic representation and license and less apologetically acted the part of a straight-up horror film.
    • 40 Metascore
    • 38 Ed Gonzalez
    A jump scare isn't just a jump scare in the films of Scott Derrickson, which isn't to say this wannabe master of horror has entirely perfected the art of sudden dread.
    • 51 Metascore
    • 38 Ed Gonzalez
    This window into the world of youthful competition almost entirely disposes of social awareness in favor of routine drama.
    • 47 Metascore
    • 38 Ed Gonzalez
    It proves that the zombie narrative is still capable of subversion, but does so with the laziest, Lifetime-grade intimations of social relevance.
    • 33 Metascore
    • 38 Ed Gonzalez
    Mac Carter repeatedly compromises his intuitive, and often elegantly framed, glances at his main characters' teenage blues by too busily going through amateur-night gesticulations of spooking his audience.
    • 56 Metascore
    • 38 Ed Gonzalez
    One can never fully shake the feeling that the sense of unease the filmmakers rouse, every act of seduction, infiltration, and vengeance they orchestrate, is borrowed.
    • 49 Metascore
    • 38 Ed Gonzalez
    At least the irony with which this transparently written and dispassionately aestheticized film so demagogically argues for the value of words and pictures is brutally convincing.
    • 47 Metascore
    • 38 Ed Gonzalez
    A few jolting scares are deployed throughout, but more difficult to shake is how the story's overacting lambs walk a rather programmatic path toward slaughter--or at least anal probing.
    • 45 Metascore
    • 38 Ed Gonzalez
    The film straddles a very awkward line between creature feature, conspiracy thriller, and domestic drama, all without novelty or suspense.
    • 42 Metascore
    • 38 Ed Gonzalez
    Just as queerness is conspicuous by its absence, so is any serious consideration of the drug use that often pairs with extended tastings of EDM.
    • 53 Metascore
    • 38 Ed Gonzalez
    Paddy Considine's benumbed ambiguity at least works against writer-director Shan Khan's reduction of honor killings to grist for the cheapest of pulpy thrills.
    • 34 Metascore
    • 25 Ed Gonzalez
    The film heroically stretches out its governing water metaphor to a point that allows it to best Garden State's Guinness World Record for most incessant navel-gazing.
    • 25 Metascore
    • 25 Ed Gonzalez
    With dubious scruples, and much Broadway-style caterwauling, the film imagines what The Wizard of Oz would look like with a should-have-gone-straight-to-video chimney on her.
    • 27 Metascore
    • 12 Ed Gonzalez
    Rather than capture truly pained souls tangled in exuberant horror tropes, the filmmakers settle for retrograde anguish and warmed-over artistry.
    • 49 Metascore
    • 12 Ed Gonzalez
    JCVD may not say it best, but he does say it aptly, when his manically cartoonish baddie caps one murder with the assertion that "shit happens."