David Ehrlich Movie Reviews & Previews - Rotten Tomatoes

David Ehrlich

David Ehrlich
David Ehrlich'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
C 82% Jumanji: Welcome to the Jungle (2017) The mildly amusing Jumanji: Welcome to the Jungle is further proof that even the stalest whiff of brand recognition has become preferable to originality.‐ indieWire
Read More | Posted Dec 8, 2017
A- 86% The Post (2017) There's topical, there's timely, and then there's The Post, which feels less like a historical thriller set in 1971 than it does an exhilarating caricature of the year 2017. ‐ indieWire
Read More | Posted Dec 6, 2017
C 76% Voyeur (2017) Ostensibly a portrait of looking, the movie only sees its own reflection.‐ indieWire
Read More | Posted Nov 30, 2017
B+ 100% Cuba And The Cameraman (2017) The film's lifeblood can be found in its connective tissue, as Alpert continually revisits the same memorable assortment of Cuban peasants and city folk.‐ indieWire
Read More | Posted Nov 22, 2017
B 100% Mr. Roosevelt (2017) It's a reminder that the 21st century is going to be full of coming-of-age films about 30-year-olds, and it's compelling evidence that that might be alright.‐ indieWire
Read More | Posted Nov 15, 2017
B 85% Wonder (2017) Chbosky might yank us through the wringer like we're in a car wash, but it's nice to feel clean for a change.‐ indieWire
Read More | Posted Nov 12, 2017
B- 96% Coco (2017) The naked desperation of the skeleton characters provides the heart and soul of the movie, and it's genuinely touching to see Miguel partner up with family members he either misses or never got to meet.‐ indieWire
Read More | Posted Nov 10, 2017
D- No Score Yet Pottersville (2017) In a year full of disturbing events, there's something uniquely unsettling about seeing Michael Shannon look as shaken as the rest of us. Maynard might save Christmas, but we all lose a little something along the way.‐ indieWire
Read More | Posted Nov 10, 2017
C 18% Daddy's Home 2 (2017) A problematic comedy sequel that's almost worth sitting through for the incredible cameo in the final scene. Almost.‐ indieWire
Read More | Posted Nov 10, 2017
C 58% Murder On The Orient Express (2017) A handsomely furnished holiday movie that should have devoted more attention to its many ornaments and less to the tinsel at the top, this "Murder on the Orient Express" loses steam as soon as it leaves the station.‐ indieWire
Read More | Posted Nov 7, 2017
B 100% A Gray State (2017) Clear enough about what happened to be ambiguous about what it means, the film makes only one clean argument: Truth isn't always stranger than fiction, but it's often a hell of a lot sadder.‐ indieWire
Read More | Posted Nov 2, 2017
B+ 100% The Light of the Moon (2017) This is a micro-budget movie, cobbled together from the corners that it's cut and riddled with rookie mistakes, but none of that will likely matter to the people who need it most.‐ indieWire
Read More | Posted Oct 31, 2017
B 29% All I See Is You (2017) You might be laughing at the movie by the time you reach its go-for-broke final shot, but the look on Lively's face is enough to fulfill the idea that loving someone is not the same as needing someone.‐ indieWire
Read More | Posted Oct 27, 2017
B 76% Sweet Virginia (2017) Sweet Virginia is riveting even when it feels insubstantial.‐ indieWire
Read More | Posted Oct 20, 2017
C 83% Marshall (2017) The problem with this hokey courtroom drama isn't that it says the right thing in the wrong way, the problem is that it ultimately doesn't say anything at all.‐ indieWire
Read More | Posted Oct 16, 2017
C- 61% The Foreigner (2017) The Foreigner may have been shot before the most recent rash of violence, but it's still too disposable to be this disturbing.‐ indieWire
Read More | Posted Oct 12, 2017
B- 92% Walking Out (2017) Few movies have evinced such a specifically American understanding of the role that love plays (or doesn't) in becoming a man, or so openly confronted the notion that strength can only be passed down through suffering.‐ indieWire
Read More | Posted Oct 9, 2017
C 80% Before We Vanish (Sanpo suru shinryakusha) (2017) Before We Vanish makes viewers walk a mile to reach conclusions that were only a minute away.‐ indieWire
Read More | Posted Oct 3, 2017
D 5% Flatliners (2017) An agonizingly boring remake of a movie about the danger of bringing things back from the dead. ‐ indieWire
Read More | Posted Sep 29, 2017
B- 91% Our Souls at Night (2017) Our Souls at Night is a small film, and it's often such a placid one that it feels like it's standing in place.‐ indieWire
Read More | Posted Sep 29, 2017
C+ 41% The Mountain Between Us (2017) A dreary but diverting high-altitude romance that's superimposed onto a classic story of survival.‐ indieWire
Read More | Posted Sep 28, 2017
B- 92% Super Dark Times (2017) ... "Super Dark Times" is visceral and gripping throughout, its probing compositions forcing you to peer deeper and deeper into the darkness.‐ indieWire
Read More | Posted Sep 25, 2017
B 82% The Children Act (2017) Like so many of the movies that stem from McEwan's novels, "The Children Act" is a soulful and sophisticated adult drama that peers into the void between the beauty of ideals and the cost of living by them.‐ indieWire
Read More | Posted Sep 22, 2017
C- 43% Woman Walks Ahead (2017) A listless but lustrously shot biopic... ‐ indieWire
Read More | Posted Sep 22, 2017
C 64% Goodbye Christopher Robin (2017) Once upon a time we used to tell stories; now we just tell stories about how we used to tell stories. At least, that's how it feels to watch a consistently milquetoast, comfortably middlebrow bit of true-life fluff like this. ‐ indieWire
Read More | Posted Sep 22, 2017
97% Safety Last! (1923) A [masterpiece].‐ Film.com
Read More | Posted Sep 21, 2017
C 18% Woodshock (2017) Fashion powerhouse Rodarte crosses over into the film world with a tedious but tremendously expressive exercise in subjective cinema.‐ indieWire
Read More | Posted Sep 21, 2017
B 54% The Lego Ninjago Movie (2017) Every bit as irreverent, smart, and ridiculously entertaining as its predecessors, The LEGO Ninjago Movie works even if you have no idea what a 'Ninjago' is.‐ indieWire
Read More | Posted Sep 20, 2017
C+ 94% The Third Murder (Sandome no satsujin) (2017) It's beautifully acted and trembles with truth, but it never gives us enough information to arrive at those conclusions on her own or deepen our belief in them.‐ indieWire
Read More | Posted Sep 15, 2017
C 58% The Unicorn Store (2017) ... Brie Larson's "Unicorn Store" is too adult for kids, too childlike for adults, and too muddled for the motley lot of misfits and dreamers who just want to think different.‐ indieWire
Read More | Posted Sep 15, 2017
C- 0% Kings (2017) Eschewing poeticism for an empty sense of prefab empathy, "Kings" is so determined to be hopeful that it forgets to be honest.‐ indieWire
Read More | Posted Sep 15, 2017
A- 86% Who We Are Now (2017) Told with the full texture of real life, Nicholson's second collaboration with "From Nowhere" filmmaker Matthew Newton is a close-up character study that explores notions of forgiveness and self-worth with surgical precision.‐ indieWire
Read More | Posted Sep 15, 2017
B+ 92% A Fantastic Woman (Una mujer fantástica) (2018) The result is a rare movie about a trans person that - for better or worse - feels of its time, and not at least a half-step behind.‐ indieWire
Read More | Posted Sep 14, 2017
C 77% Borg vs McEnroe (Borg McEnroe) (2017) What we're left with is a staid little movie that races around the court and rallies itself to exhaustion, a historical drama that enshrines the narrative underpinnings of all great sports stories without doing anything to upend them.‐ indieWire
Read More | Posted Sep 12, 2017
A- 88% Molly's Game (2017) ... a typically staccato and silver-tongued drama that boasts a zillion killer lines, at least two of the year's most exciting performances, and a rare understanding of the difference between power and pride.‐ indieWire
Read More | Posted Sep 12, 2017
B+ 91% Thelma (2017) ... Thelma's story sticks to your bones like a shiver, and sinks deeper for days after the credits have rolled.‐ indieWire
Read More | Posted Sep 12, 2017
B+ 90% I, Tonya (2017) "I, Tonya" will make you care about Tonya Harding for the first time in a long time. Moreover, "I, Tonya" will make you sympathize with Tonya Harding for the first time.‐ indieWire
Read More | Posted Sep 12, 2017
B- No Score Yet Love Means Zero (2017) As a piece of tennis lore, "Love Means Zero" is absolutely vital. As a character study about a professional tyrant, it's almost as frail and leathery as Bollettieri himself.‐ indieWire
Read More | Posted Sep 12, 2017
D 31% The Current War (2017) A torpidly slow epic with a script that moves at the speed of light, the film is pockmarked with incidents that never cohere into a clear narrative.‐ indieWire
Read More | Posted Sep 12, 2017
B 92% Disobedience (2018) Both Weisz and McAdams do a phenomenal job of negotiating who their characters are versus who their characters feel as though they have to be.‐ indieWire
Read More | Posted Sep 12, 2017
B+ 56% Super Size Me 2: Holy Chicken! (2017) Neither of the "Super-Size Me" movies is fine art, but there's a certain artfulness with which they're assembled.‐ indieWire
Read More | Posted Sep 12, 2017
C 50% England Is Mine (2017) A handsome little biopic that's sopping wet with the same clichés that its whiny hero so adamantly disavows...‐ indieWire
Read More | Posted Sep 5, 2017
A- 95% Human Flow (2017) Cinema may be a machine designed to produce empathy, but this is the rare film that reckons with how hard it can be to sustain it.‐ indieWire
Read More | Posted Sep 5, 2017
B- 82% Loving Vincent (2017) An extraordinary (and entirely demented) labor of love that makes for a wan and uneven viewing experience, "Loving Vincent" takes the phrase "every frame a painting" to very literal new levels.‐ indieWire
Read More | Posted Sep 5, 2017
B+ 90% Lean on Pete (2018) "Lean on Pete" is a small gem that covers a vast amount of territory.‐ indieWire
Read More | Posted Sep 5, 2017
C- 95% Film Stars Don't Die in Liverpool (2017) "Film Stars Don't Die in Liverpool" is a tawdrier, more tragic, but similarly superficial "My Week with Marilyn," devoted to the dying days of an actress who always lived in Monroe's voluptuous shadow.‐ indieWire
Read More | Posted Sep 5, 2017
C+ 86% Battle of the Sexes (2017) This is a film that admires - even awes at - Billie Jean King, but it doesn't share her commitment to the game.‐ indieWire
Read More | Posted Sep 5, 2017
A 96% Ex Libris: New York Public Library (2017) These portraits don't have a hint of didacticism or preachiness, but "Ex Libris" achieves a certain emotional velocity all the same.‐ indieWire
Read More | Posted Sep 5, 2017
B- 75% Hostiles (2017) "Hostiles" finds its footing as it begins to reckon with the moral underpinnings of the Western genre.‐ indieWire
Read More | Posted Sep 5, 2017
B+ 86% Darkest Hour (2017) The MVP here, the one person who's able to hold the movie together despite all the dodgy bits in its latter half, is composer Dario Marianelli... his score for Darkest Hour is a rare thing of beauty.‐ indieWire
Read More | Posted Sep 5, 2017