For 74 reviews, this critic has graded:
  • 29% higher than the average critic
  • 0% same as the average critic
  • 71% lower than the average critic
On average, this critic grades 6.8 points lower than other critics. (0-100 point scale)

Ed Gonzalez's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 100 Under the Skin
Lowest review score: 12 Nurse 3D
Score distribution:
  1. Positive: 31 out of 74
  2. Negative: 25 out of 74
74 movie reviews
    • 60 Metascore
    • 50 Ed Gonzalez
    The filmmaker looks to American modes of visual and aural expression to give Happy, Happy its soul, but all her fetish accomplishes is depersonalizing her story, making a sitcom of her character's lives.
    • 43 Metascore
    • 50 Ed Gonzalez
    Marc Forster regards the real-life Childers's evolution from heroin-addicted, wife-beating (implied), gun-toting oblivion to born-again do-gooderism with motorized aloofness.
    • 80 Metascore
    • 50 Ed Gonzalez
    The poetic, referential succession of near-still images that opens the film so immaculately distills Melancholia's moody narrative and themes that it makes the two-hours-plus that follow seem impossibly redundant.
    • 42 Metascore
    • 50 Ed Gonzalez
    Even the logos for the companies involved in its making (Sherwood Films and Affirm Films) and distribution (TriStar Pictures) scream that this will be a message from on high.
    • 62 Metascore
    • 50 Ed Gonzalez
    In the end, The Woman in Black displays a higher regard for the material makeup of gruesome-looking Victorian dolls than it does for the psychological turmoil of its characters, making one wish that some of the money it budgeted for cranes and fog machines had been offered to a script doctor.
    • 76 Metascore
    • 50 Ed Gonzalez
    A shallow romanticization of Batista-era Cuba -- when the nation was a tropical paradise for the delectation of American jetsetters -- and what the revolution left in its wake.
    • 48 Metascore
    • 50 Ed Gonzalez
    Though the film is light on anthropomorphization, its aesthetic is nothing if not infantile.
    • 71 Metascore
    • 50 Ed Gonzalez
    For a spell, the film gets by on its unpretentious flair for atmosphere, even its disconcerting nonsensicality.
    • 57 Metascore
    • 50 Ed Gonzalez
    As feminist fantasy, the film is non-committal, and as a reimagining of the fairy tale, it's at best expensive-looking without seeming wantonly so.
    • 57 Metascore
    • 50 Ed Gonzalez
    Since Bart's bloodlust is never matched in tenor by his righteousness, the story remains rife with unfulfilled moral inquiry.
    • 55 Metascore
    • 50 Ed Gonzalez
    Benjamín Ávila structures the film as a series of precious moments, remembrances of a difficult year when the politics of patria and family got in the way of his puppy love.
    • 58 Metascore
    • 50 Ed Gonzalez
    The film's weird mix of dollhouse dread and fashion-magazine chic can be fetching, but it's nothing if not vacuous, a series of disjointed, improvisatory riffs that recall the brazen aesthetic overload of Amer.
    • 69 Metascore
    • 50 Ed Gonzalez
    Haneke's admonishments are disturbing only in the sense that they're never self-critical, and while watching one of his films, there's always a sense that he thinks he's above his characters, his audience, and scrutiny.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 53 Metascore
    • 50 Ed Gonzalez
    The constant foregrounding of so much well-executed incident only works to shortchange the heroes' yearnings and anxieties.
    • 38 Metascore
    • 50 Ed Gonzalez
    The film predictably alternates in scaring its characters by tapping into their deepest fears and having them rub shoulders with the relics of a past that insists on being undisturbed.
    • 72 Metascore
    • 50 Ed Gonzalez
    Meticulous in its adherence to conventional narrative inducement, this biopic only offers a sanded-down and embossed vision of Stephen Hawking and Jane Wilde's 30-year marriage.
    • 79 Metascore
    • 50 Ed Gonzalez
    There's a comic streak to the film that suggests David Fincher may understand the material as trash, but it's the kind of affectation that only reinforces, rather than dulls, its insults.
    • 54 Metascore
    • 50 Ed Gonzalez
    Irony is a popular pose struck throughout these shorts, which are less revealing of the existentialist despair that death often rouses than they are of their makers' prejudices.
    • 46 Metascore
    • 50 Ed Gonzalez
    For a story so unconventional, it's executed without director Alexandre Aja's typical commitment to anarchic awe.

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