David Ehrlich

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For 844 reviews, this critic has graded:
  • 44% higher than the average critic
  • 3% same as the average critic
  • 53% lower than the average critic
On average, this critic grades 1.8 points lower than other critics. (0-100 point scale)

David Ehrlich's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Kubo and the Two Strings
Lowest review score: 0 Ratchet & Clank
Score distribution:
844 movie reviews
    • 55 Metascore
    • 50 David Ehrlich
    Eisenberg’s performance is left to affirm that art can truly happen anywhere, but when he’s offscreen it doesn’t seem to happen anywhere else.
    • 73 Metascore
    • 67 David Ehrlich
    Galder Gaztelu-Urrutia’s The Platform is not a subtle film. But these are unsubtle times, with unsubtle problems, and the most alarming thing about this grimly affecting Spanish allegory — which literalizes capitalism’s dehumanizing verticality with twice the gross-out terror of “Parasite,” and almost half of that masterpiece’s furious grace — is that it sometimes doesn’t seem like an allegory at all.
    • 41 Metascore
    • 42 David Ehrlich
    The power of the Camps’ story is hard to deny, but it would almost be impossible to make it seem more hollow.
    • 50 Metascore
    • 67 David Ehrlich
    Combining the droll self-satisfaction of a New Yorker cartoon with the wet gore of an Eli Roth movie, Zobel’s tense, well-crafted, and deviant grindhouse take on the national temperature has no trouble caricaturing what ails us, but even that fun combo lacks the killer instinct required to see us more clearly than we see each other.
    • 49 Metascore
    • 25 David Ehrlich
    A junky, paint-by-numbers crime saga that stacks up to The Town like Cats does to Singin’ in the Rain. It pains a lifelong New Yorker to say this, but Boston deserves better.
    • 56 Metascore
    • 42 David Ehrlich
    Borrowing from a dozen better movies as it tries to blur the line between a forgery and a masterpiece, Capotondi’s film manages to undercut its thesis with each new stroke.
    • 59 Metascore
    • 50 David Ehrlich
    Apple's first narrative film is a breezy historical biopic that plays like BlackKklansman for math nerds, but it's too stodgy to add up.
    • 68 Metascore
    • 75 David Ehrlich
    Winning and losing are relative terms, but this is the first time in forever that Affleck feels like he’s got skin in the game.
    • 39 Metascore
    • 50 David Ehrlich
    As dour in practice as it is bright-eyed in principle, Potter’s film makes an earnest but enervating attempt to erase mental boundaries.
    • 55 Metascore
    • 42 David Ehrlich
    For all of Ferrara’s reckless abandon — and Dafoe’s unimpeachable commitment to artistic exploration — Siberia becomes increasingly unable to instigate our own journeys of the soul; seldom has the collective unconscious felt so inaccessible.
    • 65 Metascore
    • 67 David Ehrlich
    Charlatan becomes entangled in its conflicting mesh of traits and time periods, but the film is only able to become more than the sum of its frustrating parts because it embraces those complications in the first place.
    • 72 Metascore
    • 75 David Ehrlich
    Kill It and Leave This Town is almost oppressively personal at times. Hideously seductive as it can be, the movie is so isolated inside the contours of Wilczyński’s mind that it’s hard to imagine what audience might exist for it. Then again, what beauty is there in this world that isn’t alive in our heads — if nowhere else — and trying to escape?
    • 44 Metascore
    • 67 David Ehrlich
    The freewheeling Jonathan Demme energy only grows more infectious as the film drifts along, Émilie Simon’s buoyant flamenco score finds the zest in each scene, and the lightly fantastical “none of this matters” attitude feels like manna from heaven in an age of interconnected cinematic universes
    • 61 Metascore
    • 67 David Ehrlich
    As with all of the director’s previous work, Funny Face is electric and moribund in equal measure, the simplicity of its story obscured by the opacity of its telling. The film is so unformed that it feels like its shots might disassociate from each other at any moment, but also so unsubtle that its script could’ve been sky-written over Brooklyn.
    • 73 Metascore
    • 67 David Ehrlich
    While Ordinary Love is so hermetically sealed inside the bubble of its cracking relationship that the film always feels like it’s about to suffocate to death, it’s so attuned to the meniscus of a “healthy” marriage that it remains touching even at its most inert.
    • 22 Metascore
    • 25 David Ehrlich
    By the time this Fantasy Island arrives at its gallingly stupid final twist, you’ll be dying to go home.
    • 47 Metascore
    • 42 David Ehrlich
    And you thought fixing Sonic’s teeth would make this movie any less of a nightmare.
    • 71 Metascore
    • 50 David Ehrlich
    There is precious little here that hasn’t already been more cogently unpacked somewhere else.
    • 79 Metascore
    • 83 David Ehrlich
    Splitting the difference between silent cinema slapstick and the cartoon roguishness of Benny Hill, this is still the kind of old-fashioned, all-ages entertainment that Hollywood doesn’t make anymore.
    • 71 Metascore
    • 83 David Ehrlich
    De Wilde doesn’t strain for relevance or reinvent the wheel, she just unapologetically serves dessert for dinner until you’re left with the satisfaction of eating a three-course meal.
    • 69 Metascore
    • 75 David Ehrlich
    If Almereyda fails to pierce the inventor’s skin and expose his circuity, his gauzy film nevertheless has fun exploring the idea that we’re all wired differently.
    • 87 Metascore
    • 83 David Ehrlich
    The Father exists for no discernible reason other than to render an inexplicably cruel element of the human condition in a recognizable way, and to do so in a way that only good art can.
    • 76 Metascore
    • 75 David Ehrlich
    The story is so outlandish — and the film so dry — that it’s hard not to be impressed by the discipline White showed in refusing to have more fun with it.
    • 83 Metascore
    • 83 David Ehrlich
    The overarching plot of Palm Springs isn’t especially novel, but each scene is just sweet, funny, and demented enough to feel like a little surprise.
    • 88 Metascore
    • 100 David Ehrlich
    Gentle as the stream that flows through the Yi’s property, and yet powerful enough to reverberate for generations to come, Chung’s loving — and immensely lovable — immigrant drama interrogates the American Dream with the hard-edged hope of a family that needs to believe in something before they lose all faith in each other.
    • 52 Metascore
    • 50 David Ehrlich
    While there are a few truly moving detours along the way . . . Uncle Frank fumbles through its fairy-tale finale so fast that it sours everything that came before.
    • 54 Metascore
    • 83 David Ehrlich
    Wendy doesn’t take the appeal of “Beasts” in a new direction, but it clarifies its strongest qualities. Zeitlin’s roving narrative techniques may have their limitations, but this spellbinding followup proves they still have juice. Everyone grows up, but the “Beasts” formula has yet to grow old.
    • 84 Metascore
    • 83 David Ehrlich
    Decker’s characteristically sawtoothed and delirious new film is set in the same latent space between fact and fantasy — a story and its telling — where she located all of her previous work.
    • 69 Metascore
    • 67 David Ehrlich
    Possessor never manages to wrest control of your mind, but it’s unnervingly good at getting under your skin.
    • 62 Metascore
    • 67 David Ehrlich
    Great horror movies should feel unsafe, but this one just leaves you feeling beaten down.

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