David Ehrlich

David Ehrlich
Tomatometer-approved critic

movie Reviews Only

T-Meter Title | Year Review
A 83% Synonyms (Synonymes) (2019) Astonishing, maddening, brilliant, hilarious, obstinate, and altogether unmissable. - indieWire EDIT
Read More | Posted Feb 14, 2019
A- 100% Varda by Agnès (2019) It's a charming and characteristically bittersweet farewell that allows Varda to have the final word on her films. - indieWire EDIT
Read More | Posted Feb 13, 2019
B 100% Ghost Town Anthology (2019) Lacks the human touch it needs to satisfy beyond its symbolism, but if Côté's 96-minute curio takes far too long to thaw, it's never more spookily enthralling than in its final moments. - indieWire EDIT
Read More | Posted Feb 12, 2019
A- No Score Yet Tremors (Temblores) (2019) There are any number of movies about gay men trying to liberate themselves from the long shadow of heteronormative oppression...but few have been told with the extraordinary nuance or compassion of Jayro Bustamante's "Tremors." - indieWire EDIT
Read More | Posted Feb 12, 2019
D 25% The Golden Glove (Der Goldene Handschuh) (2019) Dead from the moment it starts, and once you get used to the stink, there's nothing to do but wait for it to go away. - indieWire EDIT
Read More | Posted Feb 12, 2019
B- No Score Yet Goldie (2019) Goldie explodes with energy and hope. - indieWire EDIT
Read More | Posted Feb 12, 2019
B- 80% Out Stealing Horses (Ut og stjæle hester) (2019) A sensual but disconnected Stellan Skarsgård vehicle about memory and loss. - indieWire EDIT
Read More | Posted Feb 11, 2019
C 77% Mr. Jones (2019) Urgent but disjointed. - indieWire EDIT
Read More | Posted Feb 11, 2019
B+ 100% By the Grace of God (Grâce à Dieu) (2019) A sober but compelling drama. - indieWire EDIT
Read More | Posted Feb 8, 2019
B+ 100% Fourteen (2019) A modest but gradually - and, in the end, greatly - affecting sketch of how even the closest of friendships can shift and wither over the years. - indieWire EDIT
Read More | Posted Feb 8, 2019
A- 91% The Last Black Man in San Francisco (2019) Shot in a woozy, unreal, and dryly comedic style that splits the difference between Spike Jonze and Spike Lee, The Last Black Man in San Francisco slows the world down just enough for you to feel it changing. - indieWire EDIT
Read More | Posted Feb 8, 2019
C- 8% The Kindness of Strangers (2019) While the movie works to depict how kindness breeds kindness, even in the cruelest of environments, it spends much of the time watching its motley collection of lost souls chase their own tails. - indieWire EDIT
Read More | Posted Feb 7, 2019
B 78% Share (2019) Not only a raw portrait of a sexual assault survivor, it's also an oblique but horrifying treatise on the various ways in which the internet has made us feel entitled to other peoples' most private experiences. - indieWire EDIT
Read More | Posted Feb 4, 2019
B+ 73% Cold Pursuit (2019) For a movie so frigid (and so viscerally shot in the snowy peaks of Alberta's Fortress Mountains), Moland's remake is at its best whenever it pauses for a moment of warmth. - indieWire EDIT
Read More | Posted Feb 1, 2019
C 65% Velvet Buzzsaw (2019) A film that's every bit as shiny and hollow as those colorful balloon animals that Jeff Koons has sold for millions of dollars. - indieWire EDIT
Read More | Posted Feb 1, 2019
B+ 100% Cold Case Hammarskjold (2019) This epic swan dive into the darkest abyss of recent African history is also the longest, most circuitous, and glib film of its kind. - indieWire EDIT
Read More | Posted Feb 1, 2019
B 83% Hala (2019) This is a persistently quiet film; always human and alive, but also told with the solemnity of someone who knows they're sending a ripple through a body of water that's been still for thousands of years. - indieWire EDIT
Read More | Posted Feb 1, 2019
C+ 80% Where's My Roy Cohn? (2019) Bad people tend to make for good documentaries, and Roy Cohn was one of the worst. - indieWire EDIT
Read More | Posted Feb 1, 2019
B+ 92% Hail Satan? (2019) Provocative, hilarious, and latently enraging documentary about The Satanic Temple. - indieWire EDIT
Read More | Posted Feb 1, 2019
B 100% The Mustang (2019) Matthias Schoenaerts and a wild stallion try to tame each other in this stirring and poetic prison drama about a man and his horse. - indieWire EDIT
Read More | Posted Feb 1, 2019
B+ 92% Blinded by the Light (2019) A glorious and almost terminally pure coming-of-age story. - indieWire EDIT
Read More | Posted Jan 30, 2019
C 74% Untouchable (2019) It's the personal testimonies that lend this film its purpose, but Macfarlane uses them to serve Weinstein's story, when it really ought to be the other way around. - indieWire EDIT
Read More | Posted Jan 26, 2019
B- 79% The Boy Who Harnessed the Wind (2019) Ejiofor's compassionate script, adapted from William's 2009 memoir, is finely attuned to the cold realities that confront its warm characters. - indieWire EDIT
Read More | Posted Jan 26, 2019
C+ 88% MEMORY - The Origins of Alien (2019) It's big on facts, but light on feelings; it knows what "Alien" means, but has little to say about why people love it. - indieWire EDIT
Read More | Posted Jan 25, 2019
B 100% Apollo 11 (2018) If we can see the past this clearly, perhaps that's reason enough to hope for a better perspective of the future. - indieWire EDIT
Read More | Posted Jan 25, 2019
B 89% The Kid Who Would Be King (2019) By liberating a new generation from the lore they were taught... "The Kid Who Would Be King" empowers its audience to make the world their own. - indieWire EDIT
Read More | Posted Jan 12, 2019
C- 37% Glass (2019) For all of the endless blather about how comic books have the power to reveal all of our secret identities - one of Jackson's pronouncements about the power of narrative tropes veers close to making "Glass" feel like the "Life Itself" of superhero movies. - indieWire EDIT
Read More | Posted Jan 9, 2019
C- 10% Holmes and Watson (2018) The only compelling mystery about "Holmes & Watson" is how so many funny people have been squeezed into such an unfunny movie, a movie that isn't nearly smart enough to recognize how stupid it should have been. - indieWire EDIT
Read More | Posted Dec 26, 2018
C 31% Welcome to Marwen (2018) The messaging here is dangerous at best, as the more complex truths of Mark's trauma are steamrolled by Zemeckis' reckless desire to turn the guy's mind into a theme park ride. - indieWire EDIT
Read More | Posted Dec 19, 2018
B+ 70% The Mule (2018) Eastwood's latest thriller is a tender, conflicted, and sometimes very funny meditation on what America conditions people to want for themselves - on how natural it can be to forget who you are in a country where work is an identity unto itself. - indieWire EDIT
Read More | Posted Dec 12, 2018
C+ 78% Mary Poppins Returns (2018) Mary Poppins may steel the Banks children for the future, but her perfunctory new adventure only leaves us wishing to return to the way things were. - indieWire EDIT
Read More | Posted Dec 12, 2018
C 27% Mortal Engines (2018) There's so much to love here, and so little opportunity to enjoy it. - indieWire EDIT
Read More | Posted Dec 5, 2018
B+ 97% Spider-Man: Into the Spider-Verse (2018) The film's wild and contradictory aesthetic - elements of which clash against each other like some kind of dissonant cartoon jazz - dazzlingly explodes the outmoded idea that superhero movies have to look a certain way. - indieWire EDIT
Read More | Posted Nov 28, 2018
D 14% Robin Hood (2018) There's no flow to the combat, no sense behind the stunts, and no reason to invest in any of the empty noise around them. "Robin Hood" just strobes between boredom and absurdity so fast that it starts constantly providing both at once. - indieWire EDIT
Read More | Posted Nov 20, 2018
B- 63% Mary Queen of Scots (2018) An epic look at the intimate frustrations of two massively powerful young women who spend most of their energy navigating between who they are and what they represent. - indieWire EDIT
Read More | Posted Nov 16, 2018
C 69% Bleed For This (2016) Teller is appreciably committed to the character, but he's only given one note to play, his full-bodied passion wasted on a movie that would rather win on points than go for the knockout. - indieWire EDIT
Read More | Posted Nov 14, 2018
C+ 83% Instant Family (2018) Never as hackneyed as it is heartfelt, "Instant Family" takes the stuff of real life and turns it into a touching reminder of what love can do for the people who need it. - indieWire EDIT
Read More | Posted Nov 14, 2018
C- 57% The Grinch (2018) The feeble script by Michael LeSieur and Tommy Swerdlow... never lets us forget how low the bar has been set for such family entertainment. - indieWire EDIT
Read More | Posted Nov 7, 2018
D+ 34% The Nutcracker and the Four Realms (2018) The compromised result is suspended between a childlike sense of discovery and a corporate sense of duty - at no point does it feel like the story and the graphics are talking to each other, or even in the same language. - indieWire EDIT
Read More | Posted Oct 31, 2018
B+ 92% Life and Nothing More (La Vida y Nada Más) (2018) Persistence is the name of the game, and Esparza's steadfast cast of first-time actors seems to know it in their bones. There isn't a false note between them. - indieWire EDIT
Read More | Posted Oct 24, 2018
D+ 61% Bohemian Rhapsody (2018) The critical failure of Bohemian Rhapsody is that, 134 minutes after the lights go down, the members of Queen just seem like four blokes who've been processed through the rusty machinery of a Hollywood biopic. - indieWire EDIT
Read More | Posted Oct 23, 2018
C 88% The Night Comes For Us (2018) Here's hoping that someone of Tjahjanto's visceral talent eventually finds a way to stop the bleeding. - indieWire EDIT
Read More | Posted Oct 19, 2018
D+ 37% Hunter Killer (2018) Even among Gerard Butler vehicles, this one sinks right to the bottom. - indieWire EDIT
Read More | Posted Oct 18, 2018
B- 71% Galveston (2018) The coda abruptly re-configures a tired crime saga into an altogether different kind of story, one that doesn't see redemption as something Roy might achieve for himself, but rather as something that he can give to the people who need it from him. - indieWire EDIT
Read More | Posted Oct 17, 2018
B 89% A Private War (2018) Watching the film scramble towards its inevitable conclusion, one gets the sense that Heineman sees Colvin as a kindred spirit. - indieWire EDIT
Read More | Posted Oct 12, 2018
C- 36% Johnny English Strikes Again (2018) Perhaps a case could be made that something about this series is lost in translation, but it's all delivered in plain English. Johnny English. - indieWire EDIT
Read More | Posted Oct 11, 2018
B- 90% Maria By Callas (2018) The film resolves as a passionate tribute to a woman who commanded the world's attention, but was never afforded its decency. It's a curtain call for Callas, and a chance for the great singer to be heard again. - indieWire EDIT
Read More | Posted Oct 9, 2018
A- 89% Diamantino (2018) Part B-movie spoof, part handcrafted satire, and always driven by a genuine vision for a better tomorrow, Diamantino is like looking at today's Europe through a funhouse mirror, and somehow seeing it more clearly as a result. - indieWire EDIT
Read More | Posted Oct 5, 2018
B 95% Hotel by the River (2019) Hong continues to find playful new ways of organizing his obsessions. He's got a natural genius for rearranging the furniture, and it makes a virtue of the fact that he's always working inside the same house. - indieWire EDIT
Read More | Posted Oct 4, 2018
B+ 89% Studio 54 (2018) Studio 54 is resonant because it offers such a reasonable and poignant answer. - indieWire EDIT
Read More | Posted Oct 3, 2018