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
81% Brad's Status (2017) As he proved in his first film, Chuck and Buck, and the TV series Enlightened, White has empathy for people on outside looking in, and Brad's Status is his most naked - and grim - exploration of envy yet.‐ New York Magazine/Vulture
Read More | Posted Sep 15, 2017
96% The Shape of Water (2017) The story goes exactly where you think it will. It's an utterly lovely, complacent movie, too comfortable with itself to generate real dramatic tension.‐ New York Magazine/Vulture
Read More | Posted Sep 14, 2017
53% Roman J. Israel, Esq (2017) This is a formula movie but Gilroy is no hack. He hits the expected beats but with more color and depth than you expect.‐ New York Magazine/Vulture
Read More | Posted Sep 13, 2017
31% The Current War (2017) Apart from those nutty camera angles and lenses, which throw you out of the action, The Current War is absorbing ...‐ New York Magazine/Vulture
Read More | Posted Sep 11, 2017
42% Suburbicon (2017) I frankly don't know why Suburbicon happened. I do know that pulpy black comedy combined with a straight-ahead story of racism translates into sanctimonious pulp.‐ New York Magazine/Vulture
Read More | Posted Sep 10, 2017
93% Molly's Game (2017) There's a lot missing in Molly's Game, especially regarding its protagonist's personal relationships. But what's there is dandy.‐ New York Magazine/Vulture
Read More | Posted Sep 10, 2017
70% The Unknown Girl (La fille inconnue) (2017) Every Dardennes movie is worth seeing, and The Unknown Girl has all kinds of gripping undercurrents.‐ New York Magazine/Vulture
Read More | Posted Sep 8, 2017
100% Trophy (2017) The movie is richer in every way for its tangled sympathies. It will leave you angry, sick, and confused - but not smug.‐ New York Magazine/Vulture
Read More | Posted Sep 7, 2017
67% mother! (2017) Most of the dialogue and effects are clunky, repetitive, second-rate. A minute or so of David Lynch's latest Twin Peaks series has more irrational menace. For all its feverish activity, Mother! feels static.‐ New York Magazine/Vulture
Read More | Posted Sep 6, 2017
30% I Do... Until I Don't (2017) The movie's satirical backbone softens and dissolves, and watching it go wrong might make you realize it wasn't that good to begin with - that Bell had been getting by on energy and the audience's goodwill.‐ New York Magazine/Vulture
Read More | Posted Sep 1, 2017
43% Bushwick (2017) The logistics interested me more than the shallow plot.‐ New York Magazine/Vulture
Read More | Posted Aug 26, 2017
84% Patti Cake$ (2017) It's a real crowd-pleaser, and I hope a lot of people will be inspired by its mixture of grittiness and uplift.‐ New York Magazine/Vulture
Read More | Posted Aug 19, 2017
93% 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
16% 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
82% 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
50% 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
92% 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
77% 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
93% 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
89% 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
78% 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
89% 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
75% 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
18% 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
70% 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
36% 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
83% 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
91% 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
48% 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
79% 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