David Edelstein

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For 2,080 reviews, this critic has graded:
  • 47% higher than the average critic
  • 2% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 1.2 points higher than other critics. (0-100 point scale)

David Edelstein's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Spotlight
Lowest review score: 0 Funny Games (2008)
Score distribution:
2080 movie reviews
    • 90 Metascore
    • 100 David Edelstein
    The movie is a knockout.
    • 56 Metascore
    • 70 David Edelstein
    Stalk-and-kill movies bear some resemblance to classic farces, but no horror movies have taken the similarities as far as Happy Death Day and its busier, just-as-fun sequel, Happy Death 2 U. The new film repeats some of the original material but with even more madcap permutations.
    • 45 Metascore
    • 40 David Edelstein
    Nicholas McCarthy, the director of the new bad-seed movie, The Prodigy, works in a low key that still somehow scrapes your nerves, so when the nasty stuff arrives, you realize (too late!) that you’ve been softened up for the kill. The film is cruelly well-made.
    • 66 Metascore
    • 60 David Edelstein
    The mournful comedy To Dust has a sicko premise, but scrupulously sicko.
    • 78 Metascore
    • 60 David Edelstein
    High Flying Bird is an unshapely piece of storytelling — there are gaps in the plot, and it never locks into a rhythm — but that mournfulness and resentment seep into you.
    • 69 Metascore
    • 50 David Edelstein
    The actors are good, but their lovemaking has no raw edges, no messiness. Deschanel lights them like sculptures — art objects — while Richter saws away to serenade their transcendent oneness. It’s Middlebrow Realism, comrades.
    • 71 Metascore
    • 80 David Edelstein
    The movie really takes your mind off your own troubles. I liked it a lot.
    • 41 Metascore
    • 60 David Edelstein
    The souped-up plot is certainly indigestible (cheesecake, beefcake, bullets — choke on that), and there’s a steady stream of bad laughs, but something genuinely frightening comes through: a woman’s sense of disempowerment by men on all sides of the law. Hardwicke sticks to her guns — meaning there’s no play in the gunplay, only horror.
    • 75 Metascore
    • 80 David Edelstein
    If this turns out to be his final statement (he’s 87), it’s an appropriately ragged one, half-formed but gesturing toward meaning. Every edge bleeds.
    • 38 Metascore
    • 50 David Edelstein
    Serenity isn’t just meant to surprise you — which it will — but to give you an emotional wallop — which it may or may not. It didn’t work for me: I was too hung up on the fanciness (and, in truth, ridiculousness) of the final half-hour to feel everything Knight wanted me to feel.
    • 40 Metascore
    • 50 David Edelstein
    So-so quasi-thriller.
    • 42 Metascore
    • 40 David Edelstein
    If Shyamalan is an original, his originality is in draining the life out of pop archetypes, twerpily annotating them, and presenting it all as a gift from on high.
    • 48 Metascore
    • 50 David Edelstein
    Moderately entertaining, immoderately splattery spaghetti Western.
    • 63 Metascore
    • 60 David Edelstein
    The farcical revelations — with their attendant puking and pounding on bathroom doors — work better than the grimly sincere ones. But only one bit goes clunk — the rest is deftly staged and acted.
    • 66 Metascore
    • 80 David Edelstein
    The movie is phenomenally well made and the three actors who fall apart on our watch suffer magnificently.
    • 48 Metascore
    • 50 David Edelstein
    Maybe my assessment is colored by the dud ending, since the journey to its criminally unsatisfying final scenes is tantalizingly dreamlike and unnerving.
    • 59 Metascore
    • 70 David Edelstein
    Rust Creek lets you exhale just a bit. It’s tight without being punishing, and its humor takes you happily by surprise. In this sort of film, you’re on guard for pop-up scares and sudden spasms of gore, not for moments of blessed connection. The humanism feels positively radical.
    • 24 Metascore
    • 60 David Edelstein
    As a director, Coen commits comedy’s most cardinal sin: He gets between us and the performers.
    • 60 Metascore
    • 60 David Edelstein
    The defense concedes that the Ruth Bader Ginsburg biopic On the Basis of Sex hits its marks with the subtlety of a legal brief. But that’s not fatal.
    • 61 Metascore
    • 70 David Edelstein
    As impersonated by Bale, Cheney the Edifice is too impregnable for McKay to make it — psychologically speaking — past the moat, but the movie does have a firm dramatic arc.
    • 58 Metascore
    • 70 David Edelstein
    A modest but reasonably suspenseful and abidingly eerie portrait of the aged white American male trying vainly to forestall rejection and irrelevance.
    • 66 Metascore
    • 50 David Edelstein
    Mary Poppins Returns is a work of painstaking re-creation, and it’s full of nice touches. But it’s a bit of a dud.
    • 71 Metascore
    • 80 David Edelstein
    What emerges is a portrait of a man whose fall was precipitous but whose sensibility and techniques outlive him and continue to evolve. This is the acid test for a good journalistic documentary: No matter how far back it reaches, Divide and Conquer always feels as if it’s in the present tense.
    • 68 Metascore
    • 70 David Edelstein
    It’s a good idea done well until the last 20 minutes, when the leap from a realistic addiction drama to a hair’s-breadth Hollywood rescue movie is too jarring to ignore.
    • 86 Metascore
    • 80 David Edelstein
    Part of the movie’s fun — and it is fun, once you adjust to its uninsistent rhythms — is how it forces you to share Lazarro’s go-along-to-get-along ebullience.
    • 90 Metascore
    • 90 David Edelstein
    Though mostly twaddle as history, Yorgos Lanthimos’s The Favourite is wonderful, nasty fun, a period drama (wigs, breeches, beauty spots) that holds the screen with gnashing teeth and slashing nails.
    • 78 Metascore
    • 90 David Edelstein
    I’m not a fan of Schnabel’s paintings, but I think he’s a born film painter, and even if At Eternity’s Gate doesn’t reliably cross the blood-brain barrier, his frames are like no one else’s. (His cinematographer is Benoît Delhomme.)
    • 69 Metascore
    • 70 David Edelstein
    On paper it sounds cringeworthy, but much of it is great fun. Mortensen is cartoonish in the most marvelous way.
    • 59 Metascore
    • 80 David Edelstein
    Outlaw King has a wild card — a really wild card — in Aaron Taylor-Johnson’s Lord of Douglas, whose family the English humiliated. He’s so wild that as soon as he reconquers his castle, he burns it to the ground for spite. In battle, he screams in exaltation, and just when you wonder how he’ll top that, he screams again, even louder, now drenched — sopped — in gore. That you won’t get to see that in IMAX is a war crime.
    • 61 Metascore
    • 60 David Edelstein
    The best thing about the film The Front Runner is that it gives Gary Hart, the Colorado senator and 1984 and ’88 presidential candidate, a measure of dignity, and today’s audiences a historical context in which to view his missteps.

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