David Edelstein

Select another critic »
For 2,157 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 0.9 points higher than other critics. (0-100 point scale)

David Edelstein's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 The World's End
Lowest review score: 0 The Call of the Wild
Score distribution:
2157 movie reviews
    • 86 Metascore
    • 80 David Edelstein
    An inspirational civil rights documentary that sounds as if it’s going to be Good for You rather than good, but it actually turns out to be both — as well as surprising, which is surprising in itself, given that inspirational civil rights documentaries tend to be more alike than unalike.
    • 69 Metascore
    • 80 David Edelstein
    Garbus brings off something extraordinary in a film that sets out to leave us sad, enraged, and profoundly unsatisfied. Lost Girls makes us want to rethink our need for a certain kind of closure in a world that has so little of it.
    • 90 Metascore
    • 100 David Edelstein
    This haunting movie transports you to another world — and redefines home.
    • 59 Metascore
    • 60 David Edelstein
    A brief, sad little piece that doesn’t quite hurdle the blood-brain barrier and rattle you to the core, but it does achieve a half-sublimity, thanks to coastal settings with white cliffs that inspire both awe and thoughts of flinging oneself off, and also thanks to poetry.
    • 54 Metascore
    • 50 David Edelstein
    The style is immersive, meant to envelop us and bring us into the story, but it ends up making the movie feel abstract and distant. And there’s a void at the center.
    • 47 Metascore
    • 0 David Edelstein
    Something sure is screwy when a kid needs to go back to old Warner Bros. cartoons in which coyotes with jet-propelled tennis shoes or do-it-yourself tornado kits come closer to suggesting how nature actually works.
    • 91 Metascore
    • 100 David Edelstein
    At her best, Gerwig can make galumphing seem an even higher form of grace — one that’s doesn’t just forgive imperfection but rejoices in it.
    • 53 Metascore
    • 40 David Edelstein
    Under J.J. Abrams, The Rise of Skywalker hits its marks and bashes ahead, so speedy that no emotion sinks in too deeply.
    • 90 Metascore
    • 90 David Edelstein
    Howard is the summation of the Safdies’ culture, in which the drive for life collides head-on with the drive for death, and the upshot is cinema.
    • 68 Metascore
    • 70 David Edelstein
    I think Eastwood’s audience is going to eat this movie up, and maybe even turn it into a rallying cry. The legacy of the bombing of Olympic Centennial Park might end up suiting the bomber just fine.
    • 82 Metascore
    • 50 David Edelstein
    A production designed to within an inch of its life, Knives Out always seems on the brink of being cleverer than it is, never quite shaking off its cobwebs and entering the present tense.
    • 73 Metascore
    • 80 David Edelstein
    The bad guys have all the money but at least we have indie filmmakers and movie stars like Ruffalo (who vigorously and successfully campaigned to keep the frackers out of New York that caused havoc across the Delaware from him in Pennsylvania). Dark Waters is hardly a cure, but it keeps the issue aboveground.
    • 80 Metascore
    • 70 David Edelstein
    I actually liked about two-thirds of A Beautiful Day in the Neighborhood; I got impatient when Mister Rogers receded into the background and the film turned full-time to solving the problems of Lloyd Vogel, who’s based on the magazine writer Tom Junod.
    • 66 Metascore
    • 70 David Edelstein
    It’s a dry, arm’s-length movie that seeps into your blood as it seeps into Jones’s.
    • 81 Metascore
    • 100 David Edelstein
    The movie is an old-fashioned rouser with a lot of new-fashioned virtuosity.
    • 93 Metascore
    • 80 David Edelstein
    Baumbach’s main characters are written and acted straight as befits their personal integrity, but the rest of Marriage Story is done in a satirist’s broad strokes — a penetrating, often inspired satirist.
    • 42 Metascore
    • 60 David Edelstein
    Apart from those nutty camera angles and lenses, which throw you out of the action, The Current War is absorbing.... It never quite snaps into focus, though.
    • 54 Metascore
    • 50 David Edelstein
    These are Doritos movies, indeed: a lot of crunching, a lot of empty calories.
    • 58 Metascore
    • 60 David Edelstein
    Let me add something in the movie’s favor. Although I don’t love Jojo Rabbit, I love that it exists.
    • 62 Metascore
    • 60 David Edelstein
    The King has enough in its coffers to keep you moderately engaged.
    • 76 Metascore
    • 100 David Edelstein
    Dolemite Is My Name has the glee of a John Waters movie in which it’s freaks-versus-squares, with freakishness the only healthy design for living.
    • 36 Metascore
    • 60 David Edelstein
    I have to tip my cap to such a bold attempt to induce in the audience his heroine’s inner flux and fragmentation. The double-entendre title tells you to expect a trip, and you get one.
    • 59 Metascore
    • 30 David Edelstein
    The downside to the performance is the downside to the movie: It’s one note played louder and louder.
    • 94 Metascore
    • 90 David Edelstein
    For Scorsese, the slowing-down in The Irishman is radical, and it pays off in the long series of final scenes in which the characters are too old to move as they once did. They can’t hide inside motion, and so Scorsese doesn’t — and the upshot is one of his most satisfying films in decades.
    • 57 Metascore
    • 80 David Edelstein
    A broad agitprop comedy written by Scott Z. Burns that’s labored in parts but is, as a whole, sensationally valuable.
    • 26 Metascore
    • 40 David Edelstein
    Quick as it is, though, you have time to wonder how these Mexican assassins can watch their comrades getting skewered, dismembered, and eviscerated by Rambo’s traps and not think, Maybe we should pull out and rethink this assault.
    • 80 Metascore
    • 70 David Edelstein
    James Gray’s space opera Ad Astra is so eerily, transfixingly beautiful that I want to purge from my mind its resolution.
    • 40 Metascore
    • 60 David Edelstein
    The Goldfinch is too artful to deserve that kind of rejection, but too arty to keep you from saying, “What did I just see?”
    • 63 Metascore
    • 80 David Edelstein
    Bloody hell, the Brits do low-key, paranoid procedural dramas like Official Secrets well, with a pervading chill and no flash: The crispness cuts like a knife.
    • 72 Metascore
    • 70 David Edelstein
    On balance, I admire the hell out of Collaizo for choosing to tell a more emotionally convoluted story, even if it sometimes kills the momentum.

Top Trailers