David Ehrlich

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Film.com, IndieWire, Slate, The A.V. Club, The Dissolve, Time Out
For 1,677 reviews, this critic has graded:
  • 46% higher than the average critic
  • 4% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 1.7 points lower than other critics. (0-100 point scale)

David Ehrlich's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Sentimental Value
Lowest review score: 0 Warcraft
Score distribution:
  1. Positive: 962 out of 1677
  2. Mixed: 565 out of 1677
  3. Negative: 150 out of 1677
1677 movie reviews
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    • 86 Metascore
    • 91 David Ehrlich
    No Other Choice
    There are any number of movies about people who try to reinvent themselves in the face of a crisis. There are many fewer movies about people who violently refuse to even consider that idea — people who would rather kill someone else than become someone else. Park Chan-wook’s bleak, brilliant, and mordantly hilarious “No Other Choice” is the exception that proves the rule.
    • 72 Metascore
    • 91 David Ehrlich
    His House
    For all of its clumsiness and rookie missteps (which continue through the film’s gut-punch of a coda), His House is an urgent and spine-tingling ghost story about what it means to begin anew in a home that may not want you to live in it.
    • 68 Metascore
    • 91 David Ehrlich
    Kumiko, The Treasure Hunter
    The genius of Kikuchi’s performance is that – by the end – her slow descent into mania humanizes Kumiko precisely when it would have been so easy to reduce her into caricature.
    • 70 Metascore
    • 91 David Ehrlich
    The King
    A documentary as sprawling and brilliant and flawed as the country it traverses, Eugene Jarecki’s The Promised Land is a fascinatingly overstuffed portrait of America in decline.
    • 86 Metascore
    • 91 David Ehrlich
    April
    In this remarkable and shudderingly unresolved film, blessings and despair tend to become one and the same, two limbs of a shared body that Nina’s patients aren’t allowed to control for themselves.
    • 93 Metascore
    • 91 David Ehrlich
    Petite Maman
    The result is at once both the most ordinary and most enchanted thing that Sciamma has made so far, a wise and delicate wisp of a movie.
    • 80 Metascore
    • 91 David Ehrlich
    A Hidden Life
    A Hidden Life is a lucid and profoundly defiant portrait of faith in crisis.
    • tbd Metascore
    • 91 David Ehrlich
    Evelyn
    To quote a poem that Orlando reads toward the end, the dead are “not gone, but merely within you.” This urgent and beautiful documentary urges us to let them out.
    • 85 Metascore
    • 91 David Ehrlich
    The Green Knight
    Stoned out of its mind and shot with a genre-tweaking mastery that should make John Boorman proud, it’s also the rare movie that knows exactly what it is, which is an even rarer movie that’s perfectly comfortable not knowing exactly what it is.
    • 80 Metascore
    • 91 David Ehrlich
    The Testament of Ann Lee
    The ultimate brilliance of Fastvold’s movie, which remains without question for all of its peaks and valleys, is that it has the courage to reimagine the essence of belonging itself; to see it not as something we find, but rather as something that we create together.
    • 81 Metascore
    • 91 David Ehrlich
    I Lost My Body
    Anyone who’s willing to meet this movie on its own terms and roll with the dream logic it requires will be rewarded with a resonantly cathartic saga about the struggle to find beauty in a world that forces us to leave parts of ourselves behind.
    • 70 Metascore
    • 91 David Ehrlich
    All These Sleepless Nights
    More than just a hypnotically hyper-real distillation of what it means to be young, All These Sleepless Nights is a haunted vision of what it means to have been young.
    • 65 Metascore
    • 91 David Ehrlich
    The End
    There’s a thin line between kindness and complicity, and “The End” achieves its sneakily immense power by dancing all over it with an ambivalence that Oppenheimer’s previous work never allowed for.
    • 77 Metascore
    • 91 David Ehrlich
    The Beguiled
    The Beguiled is a lurid, sweltering, and sensationally fun potboiler that doesn’t find Coppola leaving her comfort zone so much as redecorating it with a fresh layer of soft-core scuzz.
    • 78 Metascore
    • 91 David Ehrlich
    Tori and Lokita
    Fringed with an even greater degree of futility than any of the duo’s previous work, Tori and Lokita doesn’t harbor any delusions that shining a harsh light on such awful stories will ever be enough to make the world a better place, and yet — in the least uncertain terms imaginable — it leaves us with an indelible glimpse into the darkness that surrounds them.
    • 73 Metascore
    • 91 David Ehrlich
    The World Is Yours
    A hyper-stylish and unexpectedly sweet rebuke to the idea that screwing people is a good way to get ahead, Gavras’ second feature manages the almost impossible task of mining something nice from the me-first mentality that’s been sweeping across modern Europe.
    • 82 Metascore
    • 91 David Ehrlich
    The Last Black Man in San Francisco
    Talbot has a gift for making twee material feel true, but his grip weakens during the pivotal home stretch of his debut, and as a result the ending doesn’t land with the emotion it deserves.
    • 85 Metascore
    • 91 David Ehrlich
    Vengeance Is Mine
    At times a frustrating experience, Vengeance Is Mine transforms over the course of its running time, Enokizu’s impenetrable nature eventually bottoming out and blossoming into a perverse relatability.
    • 77 Metascore
    • 91 David Ehrlich
    Human Flow
    Human Flow is an epic portrait of mass migration that understands how a lack of empathy often stems from a failure of imagination.
    • 78 Metascore
    • 91 David Ehrlich
    High Life
    High Life is fixated on the hypnotic rhythms of oblivion, and the human desires it brings to the surface.
    • 80 Metascore
    • 91 David Ehrlich
    Wildlife
    Dano crafts an unsparing portrait that’s harsh and humane in equal measure.
    • 87 Metascore
    • 91 David Ehrlich
    Rewind
    A wrenching self-portrait of inherited abuse that joins “The Tale” and “Leaving Neverland” on a growing list of essential and unfathomably brave films about the internalization of sexual trauma. What “Rewind” sometimes lacks in elegance, it makes up for in immediacy.
    • 86 Metascore
    • 91 David Ehrlich
    An Elephant Sitting Still
    Hard to sit through and impossible to forget, this torpid four-hour anti-drama is suffused with the sort of hopelessness that cinema only sees every once in a long while .
    • 92 Metascore
    • 91 David Ehrlich
    The Zone of Interest
    The Zone of Interest insists that all of history’s most abominable moments have been permitted by people who didn’t have to see them, and while the film’s ultimate staying power has yet to be determined, its vision of normality is — as Hannah Arendt once described that phenomenon — “more terrifying than all the atrocities put together.”
    • 85 Metascore
    • 91 David Ehrlich
    Yes
    As sincere in its satire as it is satirical in its sincerity, the deliriously provocative Yes is a veritable orgy of self-loathing surrender that reaffirms Lapid as the world’s most visceral director on a shot-by-shot basis.
    • 73 Metascore
    • 91 David Ehrlich
    The World to Come
    The World to Come is at its sharpest when trying to articulate the alchemy that happens when theory and sensation collide with each other and morph into something new.
    • 87 Metascore
    • 91 David Ehrlich
    Return to Seoul
    It’s the rare movie that can drop a long-take dance sequence into the middle of a pressing conversation without seeming the least bit mannered or aloof; the rare movie that only feels more honest as a result of its most flamboyant choices, and only makes its heroine more empathetic as a result of how she pushes other people away.
    • 88 Metascore
    • 91 David Ehrlich
    Hamilton
    This is Hamilton as you always wanted to see it, and it always will be.
    • 85 Metascore
    • 91 David Ehrlich
    Decision to Leave
    Park’s funny, playful, and increasingly poignant crime thriller is less interested in what Hae-joon (Park Hae-il) knows about his suspect than in how he feels about her
    • 82 Metascore
    • 91 David Ehrlich
    The Love Witch
    Biller spins an archly funny — but also hyper-sincere — story about the true price of the patriarchy. There hasn’t been anything quite like it in decades.
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