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
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
32% 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
54% 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
37% 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
87% 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
87% 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
15% 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
81% 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
88% 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
79% 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
42% 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
72% 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
79% 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
92% 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
9% 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
90% 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
75% 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
84% The Founder (2017) We study Adams, Jefferson, and Hamilton in school. It's time to consider another sort of Founding Father.‐ New York Magazine/Vulture
Read More | Posted Jan 19, 2017
34% Live By Night (2017) You probably won't turn it off when it comes on cable. But the material needs to be bigger, more momentous, as well as more intimate.‐ New York Magazine/Vulture
Read More | Posted Jan 17, 2017
95% Paterson (2016) I've never seen a film that captures the inner world of an artist with such delicacy.‐ New York Magazine/Vulture
Read More | Posted Dec 27, 2016
93% Fences (2016) It's not cinematic enough to make you forget you're watching something conceived for another, more spatially constricted medium, but it's too cinematic to capture the intensity, the concentration, of a great theatrical event.‐ New York Magazine/Vulture
Read More | Posted Dec 24, 2016
92% Toni Erdmann (2016) Flat, sober, paced like an art picture, its themes never directly announced: Toni Erdmann should be deadly. Instead, people scream at the screen. Really, they go crazy.‐ New York Magazine/Vulture
Read More | Posted Dec 21, 2016
85% Silence (2017) Beginning with Mean Streets, Judas has loomed large in Scorsese's work. With Silence, he's working toward his own Gospel of Judas.‐ New York Magazine/Vulture
Read More | Posted Dec 20, 2016
88% 20th Century Women (2017) 20th Century Women is irreducible ... although certain adjectives and adverbs do leap to mind: generous, reflective, absolutely delightful.‐ New York Magazine/Vulture
Read More | Posted Dec 20, 2016
31% Passengers (2016) Something of the movie's true spirit can be detected in the face of Sheen's bartending android, Arthur. Just below the smiling surface he's ironic, mischievous, dirty-minded.‐ New York Magazine/Vulture
Read More | Posted Dec 19, 2016
85% Rogue One: A Star Wars Story (2016) The movie didn't rekindle the thrill of seeing, say, The Empire Strikes Back, but Rogue One will loom pretty large in the Star Wars galaxy - if only because there's so little competition.‐ New York Magazine/Vulture
Read More | Posted Dec 14, 2016
93% La La Land (2016) The closest thing since Cherbourg to a unified-field theory of music and film.‐ New York Magazine/Vulture
Read More | Posted Dec 6, 2016
89% Jackie (2016) Jackie is a hard movie to love, but its brittleness might be its most admirable quality.‐ New York Magazine/Vulture
Read More | Posted Dec 1, 2016
60% Allied (2016) Zemeckis has fashioned a good old-fashioned World War II romantic espionage movie, but that wouldn't matter a damn if the leads weren't beautiful and didn't look great in period clothes. They are and they do.‐ New York Magazine/Vulture
Read More | Posted Nov 22, 2016
73% Fantastic Beasts and Where to Find Them (2016) Rowling and her studio are not so much telling a story as erecting another "tentpole," the Hollywood name for a "franchise" that becomes a virus - but is nonetheless regarded as a remedy for red ink. I only wish there were a vaccine.‐ New York Magazine/Vulture
Read More | Posted Nov 17, 2016
96% Manchester by the Sea (2016) Affleck proves he can convey suffering as well as any actor alive. His trebly voice is cracked with pain. He comes with his own chill fog.‐ New York Magazine/Vulture
Read More | Posted Nov 16, 2016
46% Billy Lynn's Long Halftime Walk (2016) It gets the little things wrong - and that matters - but the broad outlines right.‐ New York Magazine/Vulture
Read More | Posted Nov 14, 2016
89% Loving (2016) The performances are very fine. Watching Negga, I was afraid to blink - I wanted to see everything that passed between Mildred and Richard, no matter how fleeting.‐ New York Magazine/Vulture
Read More | Posted Nov 9, 2016
93% Arrival (2016) Much of Arrival - the part that sticks closest to its source, egghead sci-fi cult figure Ted Chiang's "Story of Your Life" - is an eerie, tantalizing, altogether superb puzzler.‐ New York Magazine/Vulture
Read More | Posted Nov 8, 2016
90% Doctor Strange (2016) Doctor Strange has a dazzling, kaleidoscopic palette that compensates for the usual thin-ish story featuring A-list actors zapping one another, along with a hero who looks fearsomely witty even in repose.‐ New York Magazine/Vulture
Read More | Posted Nov 3, 2016
87% Hacksaw Ridge (2016) Say what you will about Mad Mel Gibson, he's a driven, febrile artist, and there isn't a second in his war film Hacksaw Ridge - not even the ones that should register as clichés - that doesn't burn with his peculiar intensity.‐ New York Magazine/Vulture
Read More | Posted Nov 2, 2016
95% The Handmaiden (Ah-ga-ssi) (2016) The surface is classical, while Park's perversity bubbles up from beneath.‐ New York Magazine/Vulture
Read More | Posted Oct 28, 2016
19% Inferno (2016) Ron Howard's mostly lame adaptation of Dan Brown's wholly lame novel.‐ New York Magazine/Vulture
Read More | Posted Oct 28, 2016
98% Moonlight (2016) Hype would bruise Barry Jenkins's Moonlight, which is so delicate in its touch that the usual superlatives sound unusually shrill. It's the gentlest, most suggestive of great films.‐ New York Magazine/Vulture
Read More | Posted Oct 19, 2016