For 82 reviews, this critic has graded:
  • 30% higher than the average critic
  • 0% same as the average critic
  • 70% lower than the average critic
On average, this critic grades 8.8 points lower than other critics. (0-100 point scale)

Ed Gonzalez's Scores

  • Movies
  • TV
Average review score: 51
Highest review score: 100 In the Mood for Love
Lowest review score: 12 Strange Magic
Score distribution:
  1. Positive: 31 out of 82
  2. Negative: 32 out of 82
82 movie reviews
    • 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.
    • 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.
    • 90 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 85 Metascore
    • 100 Ed Gonzalez
    In the Mood For Love is ravishing beyond mortal words.
    • 85 Metascore
    • 88 Ed Gonzalez
    The Tree of Life's fetching images are like glowing shards of glass, and together they form a grandiose mirror that reflects Malick's impassioned philosophical outlook. It's unquestionably this great filmmaker's most personal work, a revelation of how he came to be, why he creates, and where he feels he's going.
    • 84 Metascore
    • 63 Ed Gonzalez
    Léos Carax's maddening, self-satisfied, though never smug, game of spot-the-reference seems intended only for a particular type of cinephile.
    • 83 Metascore
    • 63 Ed Gonzalez
    I Killed My Mother is a film best heard than seen, as the earnest, nimble scrubbiness of Dolan's screenplay is ill-served by his conceited visuals, an aesthetic mode that feels insecurely borrowed from perfume commercials and the work of Jean-Luc Godard and Wong Kar-Wai.
    • 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.
    • 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.
    • 80 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.
    • 79 Metascore
    • 63 Ed Gonzalez
    It's important to talk at length about Pariah's aesthetic because of how it distracts from the emotional truthfulness of the sometimes heartbreaking, by and large gorgeously performed story.
    • 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.
    • 79 Metascore
    • 75 Ed Gonzalez
    More than just a relationship drama of striking specificity, this is a naked confession about addiction.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 75 Metascore
    • 63 Ed Gonzalez
    Like Magic Mike, Side Effects is enlivened by Soderbergh's jazzy style and laidback moralism, bringing to mind the work of another connoisseur of genre, Robert Altman.
    • 74 Metascore
    • 63 Ed Gonzalez
    Despite its flaws, the film is at least a consistent vision, attesting through both its story and animation to the rabbi's right to be different while also striving for human solidarity.
    • 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.
    • 73 Metascore
    • 12 Ed Gonzalez
    A sham realist's disaster movie, tackily insulting the deaths of 300,000 people by reducing the horrors of the Indian Ocean tsunami to a series of genre titillations.
    • 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.
    • 72 Metascore
    • 50 Ed Gonzalez
    Given the liberties the film takes, it's surprising that it refuses to penetrate Alan Turing's carnality and allow Benedict Cumberbatch to truly wrestle with the torment of the man's sexuality.
    • 72 Metascore
    • 38 Ed Gonzalez
    Julianne Moore and Kristen Stewart's artful consideration of familial friction acerbated by disease, and vice versa, nearly saves Still Alice from the banality of its Lifetime-movie execution.

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