Ed Gonzalez
Select another critic »For 235 reviews, this critic has graded:
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29% higher than the average critic
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3% same as the average critic
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68% lower than the average critic
On average, this critic grades 10 points lower than other critics.
(0-100 point scale)
Ed Gonzalez's Scores
- Movies
- TV
Score distribution:
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Positive: 103 out of 235
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Mixed: 48 out of 235
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Negative: 84 out of 235
235
movie
reviews
- By Date
- By Critic Score
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- Ed Gonzalez
When Dominion isn’t suffocating itself with world-building, much of it frustratingly untapped, it’s wholly given over to corny fan service.- Slant Magazine
- Posted Jun 8, 2022
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- Ed Gonzalez
R.M.N. is more suspense thriller than procedural, and it’s content to have the audience walk on the razor’s edge of doubt and fear through much of its two-hour running time. Perhaps too content.- Slant Magazine
- Posted May 24, 2022
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- Ed Gonzalez
A New Era’s acknowledgement that some things must die for new things to be born works to justify the film’s title by quietly linking its themes of entitlement and survival.- Slant Magazine
- Posted May 13, 2022
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- Ed Gonzalez
There are clichés and then there are only clichés, and Firebird is suffocated by them.- Slant Magazine
- Posted May 4, 2022
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- Ed Gonzalez
The film is a muddle of clichés and unremarkable action sequences that bleed together into a cacophony.- Slant Magazine
- Posted Jun 24, 2021
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- Ed Gonzalez
No Man’s Land mostly suggests a performance of allyship on the filmmakers’ part.- Slant Magazine
- Posted Jan 18, 2021
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- Ed Gonzalez
The plot, geared as much for comedy as horror, is wound with efficient build-up, and its revolving-door atmosphere is consistent enough to paper over some iffy acting, baggy dialogue, and more than a few minutes of wasted real estate.- Slant Magazine
- Posted Sep 28, 2020
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- Ed Gonzalez
Carné’s France, unlike the fiddle-dee-dee of Victor Fleming’s cotton pickin’ South, is a poetic realist’s wonderland, a gateway to a dreamworld where human laws are mere judicial errors and love is so painful to hold onto it can only be savored in the moment.- Slant Magazine
- Posted Apr 16, 2020
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- Ed Gonzalez
Through to the end, you can’t get off on the thrill of this film’s craftsmanship without also getting off on the spectacle of more than just Cecilia brought to the brink of destruction. Like its style, The Invisible Man’s cruelty is the point.- Slant Magazine
- Posted Feb 24, 2020
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- Ed Gonzalez
For Patricio Guzmán, to gaze at the Cordillera is to comprehend the range of history and the possibility of its distortion.- Slant Magazine
- Posted Feb 8, 2020
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- Ed Gonzalez
By the end, it’s as if a good doctor’s god complex has been taken up by the film itself.- Slant Magazine
- Posted Jan 6, 2020
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- Ed Gonzalez
Every scene here feels as if it begins with a grenade being thrown into a room, leaving one to wonder how it will be diffused, and after a while, all you see are the gears of various sublots turning separately until they mesh together and move in unison.- Slant Magazine
- Posted Sep 9, 2019
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- Ed Gonzalez
It never resolves its commingling of the fanciful and the mundane into a particularly coherent argument about the legacy of trauma.- Slant Magazine
- Posted Aug 17, 2019
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- Ed Gonzalez
Castro’s feature-length directorial debut is a profound and casually artful expression of the lengths to which people go in order to not have to embody their desires.- Slant Magazine
- Posted Aug 15, 2019
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- Ed Gonzalez
A shrill and insipid spectacle of cross-cultural communion, but don’t call it stupid, as that would suggest that it doesn’t know exactly what it’s doing.- Slant Magazine
- Posted Jun 5, 2019
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- Ed Gonzalez
The way the film shuttles through its 90 minutes, it’s as if it’s been stripped of its most crucial narrative parts.- Slant Magazine
- Posted May 22, 2019
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- Ed Gonzalez
Throughout, the film peddles notions of self-realization and self-actualization that feel nothing short of moth-eaten.- Slant Magazine
- Posted May 2, 2019
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- Ed Gonzalez
The film is a haunting portrait of the island as a purgatorial realm between the poles of isolation and liberation.- Slant Magazine
- Posted Mar 4, 2019
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- Ed Gonzalez
There’s something undeniably ballsy about a children’s film that’s so insistent about pushing young viewers to think bigger, to be open to new ideas and question culturally coded notions of good and evil.- Slant Magazine
- Posted Sep 23, 2018
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- Ed Gonzalez
Gaspar Noé's camera captures every freak-out, recrimination, stolen kiss, and betrayal in what is a miracle of synchronicity.- Slant Magazine
- Posted Sep 4, 2018
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- Ed Gonzalez
For a spell, Boots Riley's cultural ire is so cool-headed that Sorry to Bother You easily distinguishes itself from Mike Judge's similarly themed Idiocracy, but along the way it, too, settles for swinging for the fences—so much so that the target of its satire is no longer in its crosshairs.- Slant Magazine
- Posted Jun 19, 2018
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- Ed Gonzalez
Hotel Artemis quickly reveals its future setting as an empty pretext for a banally convoluted and sentimentalized show of emotional rehabilitation.- Slant Magazine
- Posted Jun 5, 2018
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- Ed Gonzalez
It often plays like a toothless PR video designed to rehabilitate the Catholic Church's reputation in the wake of its global pedophilia scandal.- Slant Magazine
- Posted May 17, 2018
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- Ed Gonzalez
In the end, Disobedience is less about the subjugation of the self to the group than the courage to embrace uncertainty if one were to break out of the prison of a world one has been born into.- Slant Magazine
- Posted Apr 11, 2018
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- Ed Gonzalez
The film's simple, redundant, but valuable moral lesson to its audience finds comfortable enough expression in an aesthetic that's banal but impressively consistent.- Slant Magazine
- Posted Mar 22, 2018
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- Ed Gonzalez
Complicating Sophie Turner's character would have allowed the film to feel as if it had more on its mind than pulling the rug out from under us.- Slant Magazine
- Posted Mar 12, 2018
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- Ed Gonzalez
The way that Dominika is at once completely transparent and at the same time impossible to read is Red Sparrow's most intriguing through line, not least of which for the way that Jennifer Lawrence makes you grasp the canny mental gymnastics that her character has to do in order for everything that she says to be at once truth and obfuscation.- Slant Magazine
- Posted Feb 16, 2018
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- Ed Gonzalez
Emotional complication is what this film, so abundant in last-minute getaways, fake-outs, and half-hearted nods to the franchise's greatest hits, needed so as to elevate it out of its programmatic torpor.- Slant Magazine
- Posted Jan 17, 2018
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- Ed Gonzalez
The film is a doodle, but in its offhanded way, it effectively attests to the resolute nature of the Russian character.- Slant Magazine
- Posted Jan 14, 2018
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- Ed Gonzalez
At best competently mounted and at worst a case study in watering down chaos for an American market.- Slant Magazine
- Posted Jan 8, 2018
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