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+ 83% 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 38% 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- No Score Yet 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+ 100% A Fantastic Woman (Una mujer fantástica) (2017) 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 70% 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- 92% 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+ 75% 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+ 100% 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 25% 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 100% Disobedience (2017) 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+ 57% 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 52% 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- 88% 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- 100% 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 (2017) "Lean on Pete" is a small gem that covers a vast amount of territory.‐ indieWire
Read More | Posted Sep 5, 2017
C- 89% 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+ 79% 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 100% 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+ 85% 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
C- 40% Death Note (2017) Part of you will wish this had been a Netflix show instead of a Netflix movie - part of you will wish Netflix had left it alone altogether.‐ indieWire
Read More | Posted Aug 21, 2017
B 91% Gook (2017) Raw and compelling from its poetic opening shot to its gut-punch finale, Gook doesn't always find the best way to express itself, but it knows what needs to be said.‐ indieWire
Read More | Posted Aug 18, 2017
B 87% The Wound (Inxeba) (2017) John Trengrove's deeply probing debut feature is less interested in moral judgments than in the dynamic between strength and weakness.‐ indieWire
Read More | Posted Aug 16, 2017
C- 38% The Hitman's Bodyguard (2017) An original summer movie that lazily forces all of its most famous actors to embody the most basic versions of their brands.‐ indieWire
Read More | Posted Aug 15, 2017
B 91% Machines (2016) A bracingly physical documentary about the true cost of cheap labor.‐ indieWire
Read More | Posted Aug 11, 2017
B 98% In This Corner of the World (Kono sekai no katasumi ni) (2017) It would be great if a story about imminent nuclear warfare didn't feel quite so relevant, but this quietly powerful anime gives us reason to hope.‐ indieWire
Read More | Posted Aug 10, 2017
B+ 91% After Love (L'économie du couple) (2017) As sharp and savage as any breakup drama this side of A Separation.‐ indieWire
Read More | Posted Aug 8, 2017
D+ 30% The Only Living Boy in New York (2017) The Only Living Boy in New York is a dumb male fantasy that's dead on arrival.‐ indieWire
Read More | Posted Aug 6, 2017
D- 34% Kidnap (2017) A Halle Berry vehicle with four flat tires, this is the worst movie of the summer.‐ indieWire
Read More | Posted Aug 3, 2017
B 93% Escapes (2017) Fancher is just one of those guys -- you know the kind. The word is usually "raconteur," but that doesn't quite seem to cover it, here. In fact, there isn't a word in the English language that does.‐ indieWire
Read More | Posted Jul 27, 2017
D 10% The Emoji Movie (2017) The Emoji Movie is almost as bad and brutally depressing as everything else in 2017.‐ indieWire
Read More | Posted Jul 27, 2017
B 93% Logan Lucky (2017) Soderbergh returns from retirement with a silly heist movie that packs real soul. ‐ indieWire
Read More | Posted Jul 24, 2017
B 82% Detroit (2017) Kathryn Bigelow's harrowing docudrama is a bumpy but bracingly physical portrait of race in america.‐ indieWire
Read More | Posted Jul 23, 2017
C+ 83% The Villainess (Ak-Nyeo) (2017) Byung's inability to string together a coherent narrative is nearly offset by his gift for staging some bonkers scenes of death and destruction.‐ indieWire
Read More | Posted Jul 21, 2017
A 93% Dunkirk (2017) Christopher Nolan's largely bloodless but profoundly harrowing war epic is the best film he's ever made.‐ indieWire
Read More | Posted Jul 17, 2017
D 17% Blind (2017) A hackneyed romantic drama in dire need of anything that resembles actual human behavior.‐ indieWire
Read More | Posted Jul 13, 2017
B 99% City of Ghosts (2017) No other film has so convincingly, or so urgently, illustrated the role that media will play in our fight for the future.‐ indieWire
Read More | Posted Jul 13, 2017
B- 50% Valerian and the City of a Thousand Planets (2017) Luc Besson returns with a space oddity so high on its own supply that it makes Guardians of the Galaxy look like an Ozu film.‐ indieWire
Read More | Posted Jul 11, 2017
B 92% Spider-Man: Homecoming (2017) Marvel has finally started to figure out what the future of superhero movies might look like.‐ indieWire
Read More | Posted Jun 29, 2017
B 100% Dawson City: Frozen Time (2017) As an act of preservation, Frozen Time is a marvel, a miracle, a complete good. As an act of storytelling, it's still a bit too cold for the nitrate to catch fire.‐ indieWire
Read More | Posted Jun 9, 2017
C+ 84% Megan Leavey (2017) As it stands, the movie's power never pops off the screen. ‐ indieWire
Read More | Posted Jun 8, 2017
D- 16% The Mummy (2017) Obviously the worst movie that Tom Cruise has ever made.‐ indieWire
Read More | Posted Jun 7, 2017
B+ 44% Vincent N Roxxy (2017) For a movie that doesn't quite know what it's trying to say about violence, it sure knows how to say it with vigor.‐ indieWire
Read More | Posted Jun 6, 2017
B 63% Dean (2017) The lessons that Dean learns are pat and predictable, but this disarmingly winsome film is comfortable in the knowledge that universal truths can be the hardest things for people to discover for themselves.‐ indieWire
Read More | Posted Jun 5, 2017
B 94% Sami Blood (2017) Sami Blood tells a very familiar story, but the hyper-specificity of its telling renders it a wholly new and quietly profound experience.‐ indieWire
Read More | Posted Jun 1, 2017
86% 24 Frames (2017) In an age where people are so preoccupied with the size of the screen on which we watch things, it's fitting that Kiarostami's final work reminds us that no screen is too small, and that no screen is ever big enough.‐ indieWire
Read More | Posted Jun 1, 2017
B- 71% The Day After (Geu-hu) (2017) Slight, contained, but ineffably soulful.‐ indieWire
Read More | Posted May 26, 2017
A 100% Faces Places (Visages, villages) (2017) Varda has always possessed a warm and compulsively watchable screen presence, and the pint-sized iconoclast still has more pep in her step than most of us have ever had. ‐ indieWire
Read More | Posted May 24, 2017