David Edelstein

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For 2,019 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 1.5 points higher than other critics. (0-100 point scale)

David Edelstein's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Tower
Lowest review score: 0 Battlefield Earth: A Saga of the Year 3000
Score distribution:
2019 movie reviews
    • 68 Metascore
    • 80 David Edelstein
    It’s quite a mix: Far From the Tree throws so much at you that you’ll want to pick up the book and read (or reread) it. You might be surprised that one of Solomon’s subjects is the accomplished composer Nico Muhly, who’s on the spectrum. Muhly (along with Yo La Tengo) composed the movie’s music, which, like the film and book, doesn’t settle for easy harmonies.
    • 54 Metascore
    • 60 David Edelstein
    Although the script is based on Gauguin’s own writing, the film presents him as such a gloomy Gus that he might have swapped souls with his onetime pal Van Gogh.
    • 51 Metascore
    • 70 David Edelstein
    Skyscraper is one of the stupidest movies I’ve seen since San Andreas, but I enjoyed it a great deal — more than San Andreas, certainly, as well as Rampage and Baywatch and most other Dwayne Johnson pictures.
    • 91 Metascore
    • 90 David Edelstein
    Burnham made his name as a stand-up comedian, and if you can manage to look at Eighth Grade objectively — which isn’t easy, given the wallop it packs — you’ll see that it’s pretty slick.... But the slickness is dispelled whenever Elsie Fisher is onscreen, which is practically always.
    • 54 Metascore
    • 60 David Edelstein
    The First Purge is pretty good if you’re not averse to caricatures, predictable twists, and lots of familiar B-movie tropes.
    • 51 Metascore
    • 60 David Edelstein
    The movie’s most exciting moment comes when Weldon realizes that she has been played — that in helping turn the tribes against the Dawes Act, she has won the battle and lost the war, since the U.S. would now have cause to attack. That’s the moment when Woman Walks Ahead should get really good but turns, instead, into a weeper.
    • 81 Metascore
    • 90 David Edelstein
    The director, Tim Wardle, has shaped the film as a detective story in which the more pieces of the puzzle are filled in, the more disgusted and infuriated we become.
    • 70 Metascore
    • 70 David Edelstein
    It’s busy, harmless fun. Very, very busy.
    • 51 Metascore
    • 30 David Edelstein
    I know I’ve been rather harsh on an indie film that deserves points for its ambitions, so let me end on a brighter note. If Papierniak took that scene with Stanfield and started over with it, he might have a hell of a good rom-com. He needs to learn to separate the gold from the f*cking shit.
    • 49 Metascore
    • 60 David Edelstein
    The movie is well-crafted, but it doesn’t have the fullness you’d expect in a movie with so much believe-it-or-not weirdness. It feels more like a nifty anecdote.
    • 50 Metascore
    • 50 David Edelstein
    Boundaries is earnest in way that partly makes up for the overbroad characters and stale setup.
    • 80 Metascore
    • 100 David Edelstein
    Brad Bird’s The Incredibles 2 is, much like its predecessor, delightful as an animated feature but really, really delightful as a superhero picture. It’s proof that someone (not anyone, mainly Bird) can make a Marvel-type movie that’s fleet and shapely, with action sequences rich in style rather than tumult.
    • 87 Metascore
    • 90 David Edelstein
    McKay does no editorializing in En el Séptimo Día. He’s a simple, graceful storyteller — so graceful that we don’t notice all the technique he brings to the task of making us see the world through José’s eyes.
    • 67 Metascore
    • 80 David Edelstein
    Nancy is a grim piece of work, but Choe’s empathy for her protagonist gives the film its distinctive texture — woebegone, with flickers of both hope and dread.
    • 85 Metascore
    • 80 David Edelstein
    A wonderful breather from reality, from which you come back more conscious of — and dismayed by — the hate that more than ever runs the world.
    • 51 Metascore
    • 50 David Edelstein
    The movie plays like a strenuous imitation of Steven Spielberg instead of the real deal.
    • 87 Metascore
    • 70 David Edelstein
    Just as the “French Extreme” film Martyrs set a new standard for garish sadism, Hereditary raises the bar on emotional agony. If you want to see things you can never un-see and feel pain you can never un-feel, here’s the ultimate test.
    • 37 Metascore
    • 60 David Edelstein
    The agreeable looseness edges into a less agreeable limpness.
    • 66 Metascore
    • 50 David Edelstein
    The bigger problem is that stupidity just isn’t a very interesting subject.
    • 90 Metascore
    • 90 David Edelstein
    It’s the 48- and 13-year-old Jenny sitting side by side, spent, against the wall of a women’s restroom, together in their helplessness, with little to show for their pain except this extraordinary movie.
    • 85 Metascore
    • 70 David Edelstein
    First Reformed is rigorously austere (as befits the author of Transcendental Style in Film), but every frame suggests a longing for a world elsewhere. It could be argued that it gets away from Schrader, who probably had to wrest the script from his own hands to begin shooting.
    • 62 Metascore
    • 70 David Edelstein
    Solo: A Star Wars Story hits all its marks except the one it needed to hit most: accounting for one of pop culture’s most cantankerous charismatics.
    • 66 Metascore
    • 40 David Edelstein
    We’ve reached superhero saturation point, and Deadpool 2 is less a satire of that condition than a symptom of it. It has zero suspense — it’s too hip, too meta, for suspense.
    • 81 Metascore
    • 80 David Edelstein
    Revenge inverts the gutbucket revenge genre without transcending it. That said, why should men have all the fun? The movie is like Ladies’ Night at a sleaze-o bar.
    • 27 Metascore
    • 20 David Edelstein
    What’s Terminal about? It’s about 90 minutes. That’s a cheap shot, but since the film doesn’t establish a baseline of reality, it’s hard to pick out a premise. It’s a series of playlets stitched together with the seams hanging out.
    • 72 Metascore
    • 70 David Edelstein
    RBG
    Both the film and the “notorious” figure at its center are the best imaginable retaliation to mansplaining.
    • 59 Metascore
    • 50 David Edelstein
    Early in The Rachel Divide, a commentator describes Dolezal as a Rorschach blot, and the movie is one, too. Some people think it’s a hatchet job, others that it gives its subject’s commitment to social justice too much credence. I found it pretty much down the middle.
    • 59 Metascore
    • 70 David Edelstein
    Despite a few scenes that are too on the nose, The Seagull... turns out to be very fine. Above all, it’s a platform for a handful of definitive performances.
    • 91 Metascore
    • 100 David Edelstein
    Cold Water has the kind of emotional purity that puts it in a class by itself. Its blue fog envelops you.
    • 74 Metascore
    • 70 David Edelstein
    Disobedience isn’t packed with surprises, but that’s not why you go to a movie like this. You go to watch humans with wayward emotions labor to make peace with (or opt to war against) a formal, ritualized way of life.

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