David Edelstein Movie Reviews & Previews - Rotten Tomatoes

David Edelstein

David Edelstein
Tomatometer-approved critic

Movie Reviews Only

Rating T-Meter Title | Year Review
100% Don't Worry, He Won't Get Far on Foot (2018) Phoenix tends to get lost in his parts, which can lead him (along with his films) astray. But when his high-wire emotional arc suits the movie, there are few who can touch him.‐ New York Magazine/Vulture
Read More | Posted Jan 21, 2018
53% 12 Strong (2018) The Horse Soldiers' story is unconventional, and the film-produced by uber-slickster Jerry Bruckheimer-has been shaped along conventional war-movie lines.‐ New York Magazine/Vulture
Read More | Posted Jan 20, 2018
90% Private Life (2018) Jenkins' writing underlines the fundamental instability at the heart of all our lives, while proposing that most universal of remedies: empathy, love.‐ New York Magazine/Vulture
Read More | Posted Jan 20, 2018
85% The Final Year (2018) At least one viewer wept all the way through the credits.‐ New York Magazine/Vulture
Read More | Posted Jan 19, 2018
93% The Insult (L'insulte) (2018) The Insult fairly hurtles along, throwing not just Muslims against Christians, but also husbands against wives and fathers against daughters. Part of the film is a crackerjack courtroom drama. What's dull is the trajectory.‐ New York Magazine/Vulture
Read More | Posted Jan 16, 2018
23% Proud Mary (2018) You'd think a movie called Proud Mary would be sonically sensational, but the busy score is so ineffectual that it might as well be coming from the next multiplex screen over.‐ New York Magazine/Vulture
Read More | Posted Jan 12, 2018
58% The Strange Ones (2018) The Strange Ones is a perfect demonstration of how the craft of storytelling is also the craft of withholding - of revealing as little as possible in carefully parceled-out amounts.‐ New York Magazine/Vulture
Read More | Posted Jan 8, 2018
69% In the Fade (Aus dem Nichts) (2017) Diane Kruger is in nearly every shot, and her wide, open face with its hollow eyes says more in silence than other actors do in lengthy perorations.‐ New York Magazine/Vulture
Read More | Posted Dec 22, 2017
76% Jumanji: Welcome to the Jungle (2017) The movie has amusingly broad performances; good, bloodless scares ... and self-empowering life lessons too bland to be specious. You could do far worse.‐ New York Magazine/Vulture
Read More | Posted Dec 21, 2017
77% All the Money in the World (2017) Through the tension in her body and intensity of her voice, Williams conveys not just the terror of losing a son but the tragic absurdity of bearing the illustrious name Getty when family ties confer zero power.‐ New York Magazine/Vulture
Read More | Posted Dec 21, 2017
90% Star Wars: The Last Jedi (2017) [Rian Johnson] achieves what no one else has since The Empire Strikes Back: a fusion of junkyard genre parts and passion.‐ New York Magazine/Vulture
Read More | Posted Dec 12, 2017
91% Phantom Thread (2018) We're not so much watching Woodcock the rarefied designer as Day-Lewis the rarefied actor, his immersion so uncanny that he can illuminate a soul at once titanic and stunted.‐ New York Magazine/Vulture
Read More | Posted Dec 7, 2017
88% The Post (2018) It's a joy to see Streep and Hanks play together, big movie stars locked into each other's fields of gravity.‐ New York Magazine/Vulture
Read More | Posted Dec 6, 2017
89% I, Tonya (2018) It's a black comedy, and parts of it are too broad, like a second-rate Coen brothers movie. Many of the meta-jokes feel cheap. The story is good enough not to need them.‐ New York Magazine/Vulture
Read More | Posted Dec 4, 2017
91% The Disaster Artist (2017) Whatever my queasiness about laughing at a head case, I couldn't help myself from thrilling to Franco's timing, his relish, his swan dive into an egotism that has no bottom.‐ New York Magazine/Vulture
Read More | Posted Nov 28, 2017
100% Jim & Andy: The Great Beyond - Featuring a Very Special, Contractually Obligated Mention of Tony Clifton (2017) Smith weaves footage of Kaufman's emergence onto the comedy scene with Carrey's, and suggests that both performers drew from a similar (if not the exact same) well of pain.‐ New York Magazine/Vulture
Read More | Posted Nov 17, 2017
85% Wonder (2017) Perhaps I've overpraised Wonder, but as a wise man once said, "When given a choice between being right and being kind, choose kind."‐ New York Magazine/Vulture
Read More | Posted Nov 17, 2017
40% Justice League (2017) But the banter has a droopy, depressed air, as if the actors know they're coming from behind.‐ New York Magazine/Vulture
Read More | Posted Nov 15, 2017
92% Thelma (2017) The spell it casts transcends the silly plotting. It puts you in a zone all its own.‐ New York Magazine/Vulture
Read More | Posted Nov 11, 2017
57% Murder On The Orient Express (2017) To return to why Murder on the Orient Express was remade: Beats me. Maybe it's someone's idea of counterprogramming when every other film in the multiplex is for kids or yahoos. Maybe it's a tax shelter.‐ New York Magazine/Vulture
Read More | Posted Nov 10, 2017
95% One of Us (2017) They had no interest in making an "objective documentary," although I doubt the Hasidim would have made themselves available to two women with a camera and their own hair.‐ New York Magazine/Vulture
Read More | Posted Nov 7, 2017
93% Three Billboards Outside Ebbing, Missouri (2017) I was riveted for a long time by [Frances] McDormand's stricken but determined face, by how Mildred keeps dragging herself into confrontations when every cell in her body seems weary.‐ New York Magazine/Vulture
Read More | Posted Nov 6, 2017
82% My Friend Dahmer (2017) [Ross] Lynch is opaque in the spookiest way.‐ New York Magazine/Vulture
Read More | Posted Nov 3, 2017
99% Lady Bird (2017) [Saorise] Ronan's accent is American, but there's Irish in her rhythms, in the way she drives her lines home and turns every full stop into an ellipsis, a fierce demand for more.‐ New York Magazine/Vulture
Read More | Posted Oct 31, 2017
87% Novitiate (2017) Betts has succeeded in capturing a watershed moment in the life of the Catholic Church - a push to adapt that is, in important ways, at odds with its very origins.‐ New York Magazine/Vulture
Read More | Posted Oct 27, 2017
92% Thor: Ragnarok (2017) It's good to see Ruffalo liberated from the more masochistic portrait in Avengers: The Age of Ultron, and with a fresh partner in Tessa Thompson.‐ New York Magazine/Vulture
Read More | Posted Oct 25, 2017
99% Jane (2017) We disagree on many things, but we can all agree on Jane Goodall.‐ New York Magazine/Vulture
Read More | Posted Oct 20, 2017
7% The Snowman (2017) The movie plays as if he threw in the towel in the editing room. It's a stiff.‐ New York Magazine/Vulture
Read More | Posted Oct 20, 2017
99% BPM (Beats Per Minute) (120 battements par minute) (2017) BPM is vital for the history it depicts, but it's also important in the here and now, as a testament to public action - even messy, not-always-effective public action.‐ New York Magazine/Vulture
Read More | Posted Oct 20, 2017
64% Goodbye Christopher Robin (2017) Everything in this too-too movie feels overfermented, off.‐ New York Magazine/Vulture
Read More | Posted Oct 17, 2017
30% Wonder Wheel (2017) Perhaps it's that [Woody] Allen doesn't think people can really transcend anything ever. He doesn't have a tragic writer's temperament.‐ New York Magazine/Vulture
Read More | Posted Oct 14, 2017
62% The Foreigner (2017) Jackie's back in town and it's nice to see him in something that isn't so campy. The Foreigner is actually at the other extreme - it's serious to a fault.‐ New York Magazine/Vulture
Read More | Posted Oct 13, 2017
71% Happy Death Day (2017) The movie is no big deal, but its Groundhog Day conceit is kind of irresistible, and the genre blend seems right for this age of women seeking stability and empowerment.‐ New York Magazine/Vulture
Read More | Posted Oct 12, 2017
83% Take My Nose...Please! (2017) A sweeping, buoyant, and entertaining documentary ...‐ New York Magazine/Vulture
Read More | Posted Oct 6, 2017
41% The Mountain Between Us (2017) It's said you have a choice at a movie like The Mountain Between Us: Laugh at it or go with it. I don't see those two things as mutually exclusive. I laughed at it and enjoyed the hell out of it.‐ New York Magazine/Vulture
Read More | Posted Oct 5, 2017
96% The Death and Life of Marsha P. Johnson (2017) If Marsha P. fades from the film (there is not enough great footage of her, I guess, although enough to suggest she could be irresistible), the sense of vulnerability she projects permeates the rest of the movie.‐ New York Magazine/Vulture
Read More | Posted Oct 5, 2017
5% Flatliners (2017) As Andy Kaufman's Foreign Man would put it, "Ees so bad, ees terrible."‐ New York Magazine/Vulture
Read More | Posted Sep 29, 2017
91% Our Souls at Night (2017) A contrived but surprisingly enjoyable return visit with two frequent co-stars and a few other wonderful actors.‐ New York Magazine/Vulture
Read More | Posted Sep 29, 2017
87% Blade Runner 2049 (2017) I imagine most audiences will like the film ... I thought it was okay.‐ New York Magazine/Vulture
Read More | Posted Sep 29, 2017
74% Last Flag Flying (2017) The movie is so laden it's hard to endure. But worth it.‐ New York Magazine/Vulture
Read More | Posted Sep 28, 2017
66% Victoria & Abdul (2017) The chief - though hardly the only - problem with Victoria & Abdul is that too much political correctness proves to be as bad for drama as too little.‐ New York Magazine/Vulture
Read More | Posted Sep 25, 2017
86% Battle of the Sexes (2017) If Battle of the Sexes is unsurprising to a fault, it's by no means a double fault. The movie is very entertaining.‐ New York Magazine/Vulture
Read More | Posted Sep 25, 2017
51% Kingsman: The Golden Circle (2017) What a mess it is.‐ New York Magazine/Vulture
Read More | Posted Sep 25, 2017
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
92% 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
49% 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
36% 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
28% 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
81% Molly's Game (2018) 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