For 134 reviews, this critic has graded:
  • 23% higher than the average critic
  • 0% same as the average critic
  • 77% lower than the average critic
On average, this critic grades 13.3 points lower than other critics. (0-100 point scale)

Ed Gonzalez's Scores

  • Movies
  • TV
Average review score: 47
Highest review score: 100 In the Mood for Love
Lowest review score: 12 Equals
Score distribution:
  1. Positive: 39 out of 134
  2. Negative: 62 out of 134
134 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
    • 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.
    • 89 Metascore
    • 50 Ed Gonzalez
    The film's meticulousness orchestration only calls attention to its dubious sense of purpose, which lies beyond human subjectivity.
    • 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.
    • 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
    • 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.
    • 85 Metascore
    • 100 Ed Gonzalez
    In the Mood For Love is ravishing beyond mortal words.
    • 85 Metascore
    • 88 Ed Gonzalez
    Hero is elliptical, primal, radically disjointed, and female-empowering. Everything a wu xia should be…and then som
    • 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.
    • 83 Metascore
    • 75 Ed Gonzalez
    Though visionary, David Robert Mitchell's film abounds in undigested ideas and dubious sexual politics.
    • 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.
    • 81 Metascore
    • 75 Ed Gonzalez
    Denis Villeneuve's film views life in the age of the modern-day drug war as an ever-crescendoing existential nightmare.
    • 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.
    • 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.
    • 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
    • 38 Ed Gonzalez
    Cary Joji Fukunaga’s artistry registers less as psychological imprint than as a measure of his professional bona fides.
    • 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.
    • 78 Metascore
    • 50 Ed Gonzalez
    In the end, more than just the machine remains an enigma.
    • 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.

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