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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    • 73 Metascore
    • 83 David Ehrlich
    The Devil's Bath
    This haunted and harrowing psychodrama — based on surviving records from the 18th century, and rooted in the day-to-day tedium of Styrian farm life — has too much respect for its emotionally isolated heroine to frame her unraveling as part of a broader phenomenon.
    • 66 Metascore
    • 50 David Ehrlich
    The Imaginary
    This creatively unbound tale about imaginary friends is so determined to spirit you away that it soon loses any meaningful grip on reality.
    • 44 Metascore
    • 67 David Ehrlich
    Treasure
    Co-written by John Quester, von Heinz’s script tends to operate more like a wrecking ball than a controlled demolition, but Fry and Dunham endow their scenes with a brick-by-brick specificity that brings their characters to their life — the former in spite of Edek’s general buffoonery, and the latter in spite of the humorlessness that Ruth has developed as a reaction to it.
    • 73 Metascore
    • 42 David Ehrlich
    Inside Out 2
    Here we have another spreadsheet of a movie that conceives of the human mind with the vision of a digital artist and the ethos of a corporate accountant; a film so mercilessly “relatable” that only a chatbot could ever hope to see themselves in it.
    • 69 Metascore
    • 75 David Ehrlich
    Sacramento
    Running eightysomething minutes with credits, “Sacramento” never aspires to be much more than an incisively rendered sketch, but its casual nature and outward lack of ambition belie how well it manages to convey the terror that change brings into our lives, the mania of trying to deny it, and the relief that comes from recognizing that someone else in your world is changing with you.
    • 66 Metascore
    • 75 David Ehrlich
    Ultraman: Rising
    Ultraman: Rising is a fun, sincere, and thoughtfully conceived piece of kids entertainment.
    • 46 Metascore
    • 50 David Ehrlich
    The Watchers
    If there’s much about her debut that left me wishing the apple had fallen a little further from the tree, there’s also no denying that the “Unbreakable” filmmaker’s daughter has the skill to follow in her father’s footsteps, which she does here even when the material is begging her to blaze her own trail.
    • 79 Metascore
    • 83 David Ehrlich
    Look Into My Eyes
    Entrancing from the start but slow to reveal the full scope of Wilson’s vision, Look Into My Eyes locks into that furtively cinematic essence by framing its psychic readings with a stiff naturalism that recalls the interview scenes in Hirokazu Kore-eda’s “After Life.”
    • 54 Metascore
    • 67 David Ehrlich
    Bad Boys: Ride or Die
    It works because the movie around these actors strikes the right balance between silliness and sincerity, even if only by virtue of being sillier and more sincere than any of the previous installments.
    • 57 Metascore
    • 58 David Ehrlich
    Ezra
    A sweet and gracious and often painfully labored dramedy about a stand-up comic who struggles to connect with his autistic 11-year-old son, Tony Goldwyn’s “Ezra” rides an emotional honesty that’s almost completely undone by the sweaty contrivances of its plotting.
    • 76 Metascore
    • 58 David Ehrlich
    The Commandant's Shadow
    Regrettably, “never again” proves to be a misguided ethos for a film about pain that’s so nakedly unresolved, both in its characters, and in a world that has learned nothing from the lessons they were born to teach it.
    • 84 Metascore
    • 83 David Ehrlich
    Universal Language
    Universal Language is first and foremost a testament to the shared artifice of all filmic storytelling, and to the singular realities it’s able to bring alive in turn.
    • 69 Metascore
    • 67 David Ehrlich
    Rumours
    Much of the chatter is a bit too big on smiling mirth to sustain a script with so few meaningful events, but every member of the cast is so adorable and committed to their schtick that you can’t help but enjoy watching them explore it.
    • 82 Metascore
    • 67 David Ehrlich
    Grand Tour
    But for all the luminous beauty of its images, "Grand Tour" sorely lacks a current strong enough to sustain the thoughts that flow between them, compelling as some of those thoughts may be.
    • 72 Metascore
    • 75 David Ehrlich
    Christmas Eve in Miller's Point
    Christmas in Miller’s Point is just happy to be an immaculately conceived vibe.
    • 67 Metascore
    • 83 David Ehrlich
    The Balconettes
    It leans into the tonal chaos of life on earth, creating an impressively layered genre mishmash that reflects the complex reality of how women are seen in the world, and how they see themselves in return.
    • 52 Metascore
    • 50 David Ehrlich
    Parthenope
    Preoccupied with the idea that a lack of self-knowledge is what makes people mysterious, Parthenope denies its namesake any real interiority, convinced that depriving us the chance to appreciate her perspective might somehow enhance her rhetorical value.
    • 91 Metascore
    • 100 David Ehrlich
    Anora
    Splenetically hilarious for more than two hours before reality catches up with it in the film’s unforgettable final scene, “Anora” has next to nothing to do with romance, and almost everything to do with the kind of working-class heartache that a modern Hollywood studio would never even try to get right.
    • 72 Metascore
    • 91 David Ehrlich
    The Shrouds
    Sardonic, unsentimental, and often so cadaverously stiff that the film itself appears to be suffering from rigor mortis, as if its images died at some point along their brief journey from the projector to the screen.
    • 64 Metascore
    • 50 David Ehrlich
    The Apprentice
    Clipped from the start and increasingly uncertain of its purpose as it fumbles toward the Trump we know, this origin story certainly isn’t as painful to watch as the future that it portends has been to endure, but it’s every bit as banal and unnecessary.
    • 78 Metascore
    • 91 David Ehrlich
    The Substance
    An immensely, unstoppably, ecstatically demented fairy tale about female self-hatred, Coralie Fargeat’s The Substance will stop at nothing — and I mean nothing — to explode the ruthless beauty standards that society has inflicted upon women for thousands of years.
    • 87 Metascore
    • 67 David Ehrlich
    Caught by the Tides
    Caught by the Tides” is by nature an imprecise film, tethered to the buoys that Jia has collected over the years and prone to drifting through time without any clear sense of where it might take it.
    • 71 Metascore
    • 58 David Ehrlich
    The Damned
    Tellingly, The Damned only threatens to become anything more than a ponderous — if immaculately convincing — Civil War reenactment when Minervini allows his characters to articulate their fading dreams of salvation in the clearest possible terms.
    • 87 Metascore
    • 83 David Ehrlich
    On Becoming a Guinea Fowl
    The scarring power of Nyoni’s film ignites from Shula’s eventual realization that she would rather torch her family to the ground than let them forget what happened.
    • 64 Metascore
    • 75 David Ehrlich
    Kinds of Kindness
    Always interesting, seldom enjoyable, and somehow both smothered and excessive at the same time (and at all times), this nearly three-hour bonfire of Searchlight Pictures’ annual budget is a towering monument to human love that betrays almost zero interest in actually being liked.
    • 55 Metascore
    • 83 David Ehrlich
    Megalopolis
    And “Megalopolis” — in its most dazzling and audacious moment — breaks through the screen to bridge the gap between life and thought, art and reality.
    • 79 Metascore
    • 91 David Ehrlich
    Furiosa: A Mad Max Saga
    Such an internally combusting prequel might seem like a strange lead-in to a movie that spit fire in every direction, but don’t you worry: George Miller still has what it takes to make it epic.
    • 66 Metascore
    • 75 David Ehrlich
    Kingdom of the Planet of the Apes
    Wes Ball’s lush and nuanced Kingdom of the Planet of the Apes might lack the epic sweep or revolutionary fervor of the recent Matt Reeves movies that salvaged this series from the stink that had been on it since 2001, but this well-honed adventure still manages to build on the best of their legacy, if largely because of its keen focus on the hard-fought lessons that have been forgotten from it.
    • 42 Metascore
    • 25 David Ehrlich
    Unfrosted
    Unfrosted sprinkles in a few choice examples of Seinfeld’s observational schtick (“the magic of cereal is that you’re eating and drinking at the same time with one hand”), but it mostly sees him using the film’s Boomer milieu as a backdrop for an uninspired mishmash of contrived sight gags and anachronistic cultural references.
    • tbd Metascore
    • 67 David Ehrlich
    Mourning in Lod
    More than anything, however, this compellingly sketched slice of life offers rare and abiding insight as to how interwoven the Israeli and Palestine communities are in Lod and the other “mixed” cities around the country, how unequally justice is shared between them, and why such imbalanced conditions for survival will always make the world less safe for people on both sides of such bifurcated societies.
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