David Ehrlich

Select another critic »
For 548 reviews, this critic has graded:
  • 42% higher than the average critic
  • 3% same as the average critic
  • 55% lower than the average critic
On average, this critic grades 2.2 points lower than other critics. (0-100 point scale)

David Ehrlich's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Hail, Caesar!
Lowest review score: 0 The Moment
Score distribution:
  1. Negative: 81 out of 548
548 movie reviews
    • 57 Metascore
    • 42 David Ehrlich
    It’s hard to understand how anyone so capable of diagnosing this problem can also believe themselves capable of solving it — so hard, in fact, that the last 20 minutes of Generation Wealth might compel you to reconsider the value of the 80 minutes before them.
    • 46 Metascore
    • 42 David Ehrlich
    The good news is that the fans of Antoine Fuqua’s “The Equalizer” — a bland and pulpy 2014 riff on the ’80s TV series of the same name — are in for more of the same. The bad news is that the rest of us are, too.
    • 86 Metascore
    • 100 David Ehrlich
    He’s only Tom Cruise because nobody else is willing to be — or maybe he’s only Tom Cruise so that nobody else has to be. Either way, Fallout is the film he’s always promised us, and it was totally worth the wait.
    • 35 Metascore
    • 42 David Ehrlich
    The result is a dull and deeply compromised movie that would rather be a mediocre crime saga than a nuanced character study, but can’t quite bring itself to commit to that choice.
    • 62 Metascore
    • 50 David Ehrlich
    There’s no denying the purity of Fleming’s intentions (the movie’s end credits even play over a montage of same-sex parents), but Ideal Home is too cartoonish to meaningfully celebrate the beauty of the families we choose, and too casual to accomplish much else.
    • tbd Metascore
    • 42 David Ehrlich
    Elijah Bynum’s debut embracing every last cliche it can find in a perverse attempt to forge its own identity. It’s a noble effort that comes up empty. Instead of something original, we’re left with a sweaty pastiche that shares its protagonist’s desire to be all things to all people, only to wind up losing any sense of itself along the way.
    • 51 Metascore
    • 58 David Ehrlich
    An electric lead performance and a growing sense of self make it worth your while to see that Izzy gets where she’s going.
    • 49 Metascore
    • 33 David Ehrlich
    From the flat battle sequence that’s shot with all the excitement of folding laundry, to the literal chess match that anchors the underwritten dynamic between Berg and his target, The Catcher Was a Spy shrugs through each bad scene as though it’s biding time for better ones to come.
    • 61 Metascore
    • 50 David Ehrlich
    Alas, all the darkness in the world doesn’t make “Day of Soldado” feel real, and errant mentions of a weak-stomached POTUS violently return us to the atrocities happening beyond the frame.
    • 57 Metascore
    • 67 David Ehrlich
    Uncle Drew is such a well-acted, warm-hearted basketball comedy that you’re liable to forget about its corporate origins.
    • 68 Metascore
    • 75 David Ehrlich
    Quinn has clearly done the work to establish meaningful relationships with many of his subjects, and you can see the pain and concern in their eyes. Still, Eating Animals feels every bit as scattershot as it sounds, the film’s moral argument cornering you from all sides rather than attacking head-on.
    • 52 Metascore
    • 67 David Ehrlich
    It works because the characters keep things anchored to some kind of dramatic reality.
    • 24 Metascore
    • 25 David Ehrlich
    Connolly’s biopic isn’t a hagiography. The problem is that it’s not really anything. This is a strange thing to say about a notorious mob boss who was locked up for murder, but John Gotti deserved better.
    • 80 Metascore
    • 83 David Ehrlich
    Once the menacing and mysterious Screenslaver is introduced, inciting a Spielberg-level monorail chase that reaffirms Bird’s lucid gift for kinetic and character-driven action filmmaking, the movie blasts off and never looks back.
    • 58 Metascore
    • 58 David Ehrlich
    It’s damning, if not quite fatal, that Lee’s version works best when it’s riffing on the standout elements of the source material rather than trying to reinvent them.
    • 57 Metascore
    • 42 David Ehrlich
    A handful of amusing details in desperate need of a purpose, the film spends its first half looking for a compelling reason to exist, and its second half trying to disguise the fact that it can’t find one.
    • 21 Metascore
    • 16 David Ehrlich
    211
    Unwatchable even by the subterranean standards of a direct-to-video Nicolas Cage thriller, director York Shackleton’s 211 is the kind of low-grade schlock that leaves you with a newfound respect for the basic competence that most bad movies bring to the table.
    • 37 Metascore
    • 16 David Ehrlich
    For most of its interminable runtime, Action Point feels like a porno that deliberately ruins the sex scenes in order to stop you from fast-forwarding through the plot.
    • 60 Metascore
    • 67 David Ehrlich
    Silas Howard’s new film is nothing if not well-attuned to the difference between the purity of sharing the right values and the messiness of actually living with them.
    • 56 Metascore
    • 67 David Ehrlich
    Adrift is told with an inimitable sense of place and a rare attention to detail, both of which help to ensure that we never lose sight of the terror at hand. When all else fails, which it sometimes does, Woodley is there to right the ship.
    • 71 Metascore
    • 75 David Ehrlich
    The movie is able to ride a line right through so many of its genre’s worst clichés because it never stops negotiating between fear and desire, risk and reward. It’s an assured directorial debut from “The Mentalist” actor Simon Baker.
    • 83 Metascore
    • 91 David Ehrlich
    Newton’s film knows that people are always going to be letting themselves (and each other) down, no matter how hard they try, and Nicholson’s unforgettable turn makes it impossible for us to forget it.
    • 61 Metascore
    • 67 David Ehrlich
    For a giallo riff so light on gore, Knife + Heart is still a bloody mess.
    • 93 Metascore
    • 91 David Ehrlich
    A master of threading the needle between conflict and contrivance, Kore-eda manages to turn this drama inside out without every betraying its most resonant truth.
    • 71 Metascore
    • 50 David Ehrlich
    Capernaum is a movie that wants its audience to empathize with its protagonist so intensely that you agree he should never have been born. It’s a fascinating (if obviously counterintuitive) approach, but one that’s frustrated by the literalness with which Labaki unpacks it.
    • 71 Metascore
    • 91 David Ehrlich
    A hyper-stylish and unexpectedly sweet rebuke to the idea that screwing people is a good way to get ahead, Gavras’ second feature manages the almost impossible task of mining something nice from the me-first mentality that’s been sweeping across modern Europe.
    • 69 Metascore
    • 75 David Ehrlich
    It’s a shambling, transportive, and semi-tragic story about a fleeting past where anything seemed possible.
    • 82 Metascore
    • 83 David Ehrlich
    Few narrative dramas (if any) have more sensitively explored the nuances of growing up transgender, the bravery required to transition, and the struggle for self-acceptance that can motivate or define that process. Likewise, few narrative dramas (if any) have more palpably distilled the pain of being deadnamed, the humiliation of being reduced to your body, and the cruelty of being misrepresented as something that you’re not.
    • 37 Metascore
    • 42 David Ehrlich
    The debut feature from writer-director Vanessa Filho is a trite story about a walking disaster and the daughter caught her in path, the tedious melodrama only finding a heartbeat when it abandons the lead character and searches for change.
    • 74 Metascore
    • 50 David Ehrlich
    Subtle as a great dane, and less convincing than a show poodle that’s trying to pretend she’s an untamed stray, Dogman is an obvious and strained little movie.

Top Trailers