David Edelstein Movie Reviews & Previews - Rotten Tomatoes

David Edelstein

David Edelstein
David Edelstein's reviews (from any publication) always count toward the Tomatometer because this critic is a Tomatometer-approved critic.

Movie Reviews Only

Rating T-Meter Title | Year Review
92% Logan Lucky (2017) The whole movie is a trick, reversing our expectations at nearly every turn and casting actors in roles that they were not exactly born to play, but do so with relish.‐ New York Magazine/Vulture
Read More | Posted Aug 17, 2017
91% Marjorie Prime (2017) Marjorie Prime is exquisite - beautiful, intense, shivering with empathy.‐ New York Magazine/Vulture
Read More | Posted Aug 15, 2017
86% Wind River (2017) Long after the gunshots of Wind River fade, you might think you hear the cries of the dead.‐ New York Magazine/Vulture
Read More | Posted Aug 3, 2017
17% The Dark Tower (2017) The thing about King is that his passion is always palpable, even when his material is second- or third-hand, whereas no one here seems to be having any fun. The movie is wan and perfunctory.‐ New York Magazine/Vulture
Read More | Posted Aug 2, 2017
83% Detroit (2017) What Bigelow does - incomparably - is put us in that room with those people at that moment. She induces a feeling of powerlessness that's beyond our capacity to imagine on our own, and she keeps it going ...‐ New York Magazine/Vulture
Read More | Posted Jul 31, 2017
75% Atomic Blonde (2017) You don't go to operas for dancing or ballets for singing, and you don't see Atomic Blonde for anything but a badass female protagonist crunching bones and pulping faces in gratifyingly long takes or remarkable simulations thereof.‐ New York Magazine/Vulture
Read More | Posted Jul 28, 2017
93% Dunkirk (2017) When the structure of Dunkirk becomes visible, when it stands as a mathematical demonstration of brave individual choices lining up in a tidy row, you might realize that you've been had.‐ New York Magazine/Vulture
Read More | Posted Jul 20, 2017
51% Valerian and the City of a Thousand Planets (2017) I worry that people will minimize Besson's achievement because of his herky-jerky script, but Valerian and the City of a Thousand Planets is more than the sum of its effects.‐ New York Magazine/Vulture
Read More | Posted Jul 19, 2017
88% Lady Macbeth (2017) It eats into the mind with its vision of evil as a contagion that transforms victims into oppressors.‐ New York Magazine/Vulture
Read More | Posted Jul 12, 2017
93% War for the Planet of the Apes (2017) War for the Planet of the Apes manages to be both alienating and sappy, and the biblical finale seems to come from a different universe altogether. It's an awesome, dull movie.‐ New York Magazine/Vulture
Read More | Posted Jul 11, 2017
91% A Ghost Story (2017) Even at its most self-conscious, there's something lovable about A Ghost Story.‐ New York Magazine/Vulture
Read More | Posted Jul 7, 2017
92% Spider-Man: Homecoming (2017) Even those of us who regard the Marvel aesthetic as a plague on world cinema can find much in Spider-Man: Homecoming to be charmed by.‐ New York Magazine/Vulture
Read More | Posted Jul 5, 2017
76% The Little Hours (2017) It's deliciously deadpan sex farce played by some of the deftest clowns in the English-speaking world. The more matter-of-fact it is, the more screamingly funny.‐ New York Magazine/Vulture
Read More | Posted Jun 26, 2017
100% Nowhere To Hide (2017) Some great documentaries cut through the inessentials and help you make sense of an apparently senseless world. Others ... shock you into an even greater confoundment, demonstrating, moment by moment, how irrational the world really is.‐ New York Magazine/Vulture
Read More | Posted Jun 24, 2017
94% Baby Driver (2017) This is the first thriller I've seen in a long time that feels handmade.‐ New York Magazine/Vulture
Read More | Posted Jun 21, 2017
87% Maudie (2017) Hawkins doesn't rise above the film's conception, but she makes it work.‐ New York Magazine/Vulture
Read More | Posted Jun 20, 2017
79% The Beguiled (2017) Its power is in its undercurrents, in the sense that what we're seeing isn't inevitable but a sort of worst-case scenario of genders in opposition.‐ New York Magazine/Vulture
Read More | Posted Jun 20, 2017
88% It Comes At Night (2017) Edgerton gives another masterly minimalist performance, and Ejogo and Harrison are preternaturally alert.‐ New York Magazine/Vulture
Read More | Posted Jun 9, 2017
16% The Mummy (2017) It has been made with skill and hits its marks. But those marks are so low and so brazenly mercenary that it doesn't feel like much of an achievement. It's not involving.‐ New York Magazine/Vulture
Read More | Posted Jun 9, 2017
76% My Cousin Rachel (2017) My Cousin Rachel is a fascinating hybrid. It uses clunky devices out of a 19th-century melodrama, but its subject is modern: mistakes of perception and of metaphor.‐ New York Magazine/Vulture
Read More | Posted Jun 9, 2017
78% The Exception (The Kaiser's Last Kiss) (2017) The superb English stage director David Leveaux keeps the pacing taut while creating space for his actors to work their magic.‐ New York Magazine/Vulture
Read More | Posted Jun 1, 2017
92% Wonder Woman (2017) The only grace note in the generally clunky Wonder Woman is its star, the five-foot-ten-inch Israeli actress and model Gal Gadot, who is somehow the perfect blend of superbabe-in-the-woods innocence and mouthiness.‐ New York Magazine/Vulture
Read More | Posted Jun 1, 2017
19% Baywatch (2017) The idea of lifeguards playing detective is so fundamentally ridiculous that making fun of it never gets old.‐ New York Magazine/Vulture
Read More | Posted May 27, 2017
29% Pirates of the Caribbean: Dead Men Tell No Tales (2017) It's stuffed to the gills with effects executed by the highest-paid artists and technicians in the business. But it's still a sorry spectacle.‐ New York Magazine/Vulture
Read More | Posted May 25, 2017
50% The Drowning (2017) The movie is a prime specimen of "the paranoid style."‐ New York Magazine/Vulture
Read More | Posted May 17, 2017
71% Alien: Covenant (2017) The dialogue of Alien: Covenant is often clunky and its plot repetitious. (As usual these days, there are too many climaxes.) But it's scary and splatterful, which is all it really needs to be.‐ New York Magazine/Vulture
Read More | Posted May 16, 2017
35% Snatched (2017) I don't fault Schumer for pushing the lines of taste and correctness. I do fault the director, Jonathan Levine, who made the relatively relaxed 50/50 and The Wackness, for his whack-you-over-the-head pacing.‐ New York Magazine/Vulture
Read More | Posted May 11, 2017
86% The Lovers (2017) With its waltz-like score and farcical symmetry, The Lovers is about as full as a movie can be with a premise so thin.‐ New York Magazine/Vulture
Read More | Posted May 6, 2017
100% Last Men in Aleppo (2017) A cool, objective film critic could complain that Last Men in Aleppo becomes repetitious, but it's that repetition that eats into your mind and makes objectivity foolish.‐ New York Magazine/Vulture
Read More | Posted May 5, 2017
88% One Week and a Day (Shavua ve Yom) (2017) A squirm comedy set astride a grave - and somehow more moving for its protagonist's inability to grieve the way sane people are supposed to.‐ New York Magazine/Vulture
Read More | Posted Apr 28, 2017
17% The Circle (2017) If in ten years we look back on it and think, "Yep, they got it right," we'll really be screwed. We'll probably still think the movie isn't very good, though.‐ New York Magazine/Vulture
Read More | Posted Apr 28, 2017
82% Guardians of the Galaxy Vol. 2 (2017) The vibe is corporate, and of the most depressing kind: It's not enough that you've paid for this product. You have to sit through commercials for the next one and the next and the next.‐ New York Magazine/Vulture
Read More | Posted Apr 25, 2017
92% A Quiet Passion (2017) The final scenes are potent enough to save the movie.‐ New York Magazine/Vulture
Read More | Posted Apr 11, 2017
87% The Lost City of Z (2017) The Lost City of Z(ed) isn't as expansive as you might initially wish but still pulls you in and along.‐ New York Magazine/Vulture
Read More | Posted Apr 11, 2017
80% Colossal (2017) Vigalondo demonstrates that even the dumbest genres can be used to profound ends - not cheapening serious things but kicking them to the next metaphoric level.‐ New York Magazine/Vulture
Read More | Posted Apr 6, 2017
46% Wilson (2017) Here's the most consuming question: Can you see a part of yourself in Wilson? I can.‐ New York Magazine/Vulture
Read More | Posted Mar 22, 2017
78% T2 Trainspotting (2017) Although T2 Trainspotting has a melancholy streak, a nostalgia for a time of crazy energy and resiliency, Boyle seems desperate to prove he has lost none of his youthful giddiness and that he can go home again.‐ New York Magazine/Vulture
Read More | Posted Mar 17, 2017
95% I Called Him Morgan (2017) The musicians must be the most photogenic men alive - almost every shot evokes a freedom of spirit, a simultaneous relaxation and alertness.‐ New York Magazine/Vulture
Read More | Posted Mar 15, 2017
73% The Sense Of An Ending (2017) You only spoon-feed an audience that way when you don't trust them - or don't trust your ability to connect with them on a deeper level. In this case, it's probably both.‐ New York Magazine/Vulture
Read More | Posted Mar 10, 2017
73% Catfight (2017) Tukel takes a big risk in Catfight: using farcical means to weave together personal and political tragedies, so that each dimension feeds the other. The rough edges and occasional clunks are a small price to pay.‐ New York Magazine/Vulture
Read More | Posted Mar 10, 2017
80% Personal Shopper (2017) If you have a penchant for mood pieces that flirt with genre but are too pretentious to deliver the full climactic payload, Personal Shopper is for you. I loved nearly all of it ...‐ New York Magazine/Vulture
Read More | Posted Mar 10, 2017
93% Logan (2017) On its own terms, Logan is a crackerjack piece of work: The dialogue is crisp, the staging snappy, and the action scenes really pop.‐ New York Magazine/Vulture
Read More | Posted Mar 2, 2017
99% Get Out (2017) Get Out is the satirical horror movie we've been waiting for, a mash-up of Guess Who's Coming to Dinner? and The Stepford Wives that's more fun than either and more illuminating, too.‐ New York Magazine/Vulture
Read More | Posted Feb 24, 2017
35% The Great Wall (2017) The absurdity is what makes it such a hoot-and-a-half.‐ New York Magazine/Vulture
Read More | Posted Feb 17, 2017
10% Fifty Shades Darker (2017) The story of a woman who gives her man better values and a man who gives his woman better clothes, both of them suffering so much for a little bit of nookie.‐ New York Magazine/Vulture
Read More | Posted Feb 13, 2017
89% John Wick: Chapter 2 (2017) John Wick: Chapter 2 is the apotheosis of a 3 a.m. cable wallow. And loving it doesn't corrupt you.‐ New York Magazine/Vulture
Read More | Posted Feb 13, 2017
90% The Lego Batman Movie (2017) Many films open on a high and drop off, but you'll rarely see a plunge as vertiginous as the one in The Lego Batman Movie.‐ New York Magazine/Vulture
Read More | Posted Feb 9, 2017
98% I Am Not Your Negro (2017) This is Baldwin at his most polemical, but beneath his rage you can discern a groping for unity.‐ New York Magazine/Vulture
Read More | Posted Feb 4, 2017
97% The Salesman (Forushande) (2017) It's another of the director's analytical but deeply empathetic films about modern Iranian society and what separates men from women and the government from its people.‐ New York Magazine/Vulture
Read More | Posted Jan 31, 2017
74% Split (2017) Shyamalan has returned to what he loves to do: use cheap horror tropes to create his own harebrained mythos.‐ New York Magazine/Vulture
Read More | Posted Jan 24, 2017