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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    • 82 Metascore
    • 75 David Ehrlich
    Navalny
    Whatever their respective agendas, Navalny finds subject and filmmaker alike bound together by the shared belief that authoritarian governments are as scared of their people as their people are of them, and the documentary is galvanized by the spectacle of Putin shitting his pants.
    • 82 Metascore
    • 100 David Ehrlich
    Madeline's Madeline
    In an overwhelmingly dense film that never feels as if it’s only ever doing one thing, Decker’s form never forces you to choose between the story and its very meta shadows.
    • 82 Metascore
    • 89 David Ehrlich
    Captain Phillips
    While this is arguably Greengrass’ best film, it’s almost certainly his most urgent.
    • 82 Metascore
    • 83 David Ehrlich
    A Hero
    The film misses the core emotional charge of “A Separation” despite a similar eagerness to wade into the weeds of Iranian civil law, but what it lacks in brute force sentiment it makes up for in the Socratic purity of its structure and the childlike simplicity of its central question: What’s the difference between doing a good deed and not doing a bad one?
    • 82 Metascore
    • 91 David Ehrlich
    The Northman
    It’s not like this movie is a punishing chore; it’s not like Eggers doesn’t want multiplex audiences to like it. And they will. Because this is the kind of filmmaking that rips you out of your body so hard that you’re liable to forget what year it is.
    • 82 Metascore
    • 83 David Ehrlich
    John McEnroe: In the Realm of Perfection
    Faraut is able to conflate the cinema’s quixotic obsession with reality with the athlete’s similarly impossible dream of perfection. In its own playful way, his film celebrates the beautiful folly of both pursuits.
    • 82 Metascore
    • 83 David Ehrlich
    Bacurau
    At once both more forceful and more inscrutable than Filho’s previous work, Bacurau plunges deeper into midnight territory as its core ideas take hold, its ghosts become literal, and its heroes take up arms.
    • 81 Metascore
    • 75 David Ehrlich
    Mass
    Kranz’s direction may not be flashy enough to earn him a spot on Marvel’s shortlist, but the careful balance that he strikes between the movie’s four lead performances reflects a natural confidence behind the camera.
    • 44 Metascore
    • 42 David Ehrlich
    Pacific Rim: Uprising
    A generic and diverting sequel that corrects some of the original’s biggest mistakes while also highlighting some of its more eccentric charms, “Uprising” drops us into a world that’s much richer than what the previous film left behind.
    • 81 Metascore
    • 91 David Ehrlich
    The History of Concrete
    Between meaning and mayhem. This meandering but laser-focused essay film is, like the best episodes of Wilson’s show, sustained by parallel dramatic questions that inevitably answer each other by the end.
    • 63 Metascore
    • 50 David Ehrlich
    Fingernails
    There’s nowhere for the movie to go once it establishes that the safety love offers can also be the source of its undoing.
    • 81 Metascore
    • 83 David Ehrlich
    Weapons
    The non-linear shape of its story doesn’t just allow Weapons to disguise the age-old genre pattern of tension and release, it also allows Cregger to condense it until he’s completely elided the distance between horror and comedy, terror and relief, self-control and surrender.
    • 81 Metascore
    • 100 David Ehrlich
    Everything Everywhere All at Once
    Here is an orgiastic work of slaphappy genius that doesn’t operate like a narrative film so much as a particle accelerator — or maybe a cosmic washing machine — that two psychotic 12-year-olds designed in the hopes of reconciling the anxiety of what our lives could be with the beauty of what they are.
    • 81 Metascore
    • 67 David Ehrlich
    Close
    Beautiful as Dhont’s eye for detail can be, and vital as his willingness to explore the unbearably tender pockets of adolescence often proves here, Close still finds its sensitive — if sometimes borderline sadistic — young filmmaker defaulting to universal pain whenever he fears that more personal feelings may be too poignantly ethereal to see on camera.
    • 81 Metascore
    • 67 David Ehrlich
    Coco
    Fresh and stale in equal measure, Coco represents the best of what Pixar can be, and the worst of what they’ve become.
    • 81 Metascore
    • 75 David Ehrlich
    Justin Timberlake + the Tennessee Kids
    If nothing else, this loving — borderline fetishistic — concert movie makes a compelling case for the musicianship, artistry, and sheer athleticism of pop music. Well, good pop music, anyway.
    • 78 Metascore
    • 67 David Ehrlich
    Warfare
    Warfare is a film that wants to be felt more than interpreted, but it doesn’t make any sense to me as an invitation — only as a warning created from the wounds of a memory.
    • 81 Metascore
    • 83 David Ehrlich
    Beginning
    In Beginning, the borders of the frame aren’t just the iron bars of a jail cell, they’re also the garden walls of Eden, the tempting hiss of the snake, and the angel of the lord who interrupted Abraham from killing his son.
    • 81 Metascore
    • 83 David Ehrlich
    R.M.N.
    Pulling harder and harder at the tension between complex socioeconomic forces and the simple human emotions they inspire, R.M.N. masterfully spins an all too familiar migration narrative into an atavistic passion play about the antagonistic effects of globalization on the European Union.
    • 81 Metascore
    • 83 David Ehrlich
    Revenge
    Revenge is a bit too thin to sustain its running time (despite its slickness and mesmeric rhythm), but Fargeat’s well-executed finale is worth the wait, particularly for how it cements Lutz as a final girl for the ages. A girl who’s stripped of her humanity, and then finds the strength to return the favor several times over.
    • 81 Metascore
    • 83 David Ehrlich
    Riders of Justice
    What starts as the knotted stuff of violent coincidence soon unravels into something more bittersweet, as Mads Mikkelsen’s first movie after Oscar winner “Another Round” restitches itself into another giddy and unexpectedly poignant modern fable about the search for meaning in a world where everything happens by chance, but nothing is a coincidence.
    • 81 Metascore
    • 83 David Ehrlich
    In Fabric
    At a time when movies are growing more plastic by the day, it’s always a thrill to experience something that’s so attuned to the tactile pleasures of the cinema; to see a movie that you can feel with your fingers even when it bypasses your heart or goes over your head.
    • 81 Metascore
    • 67 David Ehrlich
    The Wailing
    This is horror filmmaking that's designed to work on you like a virus, slowly incapacitating your defenses so it can build up and do some real damage.
    • 62 Metascore
    • 50 David Ehrlich
    The King
    The King is so eager to be a mud-and-guts epic about inherited violence and the corruption of power that it loses sight of the rich coming-of-age story at its core.
    • 81 Metascore
    • 75 David Ehrlich
    The Edge of Democracy
    At what point does a story about one failing democracy become a story about all failing democracies? Perhaps there’s no way of knowing until it’s already too late.
    • 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.
    • 81 Metascore
    • 83 David Ehrlich
    Memoir of a Snail
    Yes, life can only be understood backwards, but Memoir of a Snail makes a sweetly compelling case that we’ll see the beauty in it one day — such a sweetly compelling case, in fact, that you might just start looking for it now
    • 81 Metascore
    • 83 David Ehrlich
    A Fantastic Woman
    While the storytelling grows frustratingly elliptical, Lelio so desperate to constrain the drama that he resorts to removing helpful pieces of it, the scenes that remain are succinct and evocative.
    • 81 Metascore
    • 75 David Ehrlich
    Your Name.
    Like all of Shinkai’s films, the richness of the light coats everything it touches with such an evocative hue of nostalgia that the plot only puts a damper on things (and there’s a lot of plot here).
    • 66 Metascore
    • 58 David Ehrlich
    Devotion
    Devotion can be stiff and hackneyed at the best of times — it’s nothing if not a war movie that has seen too many other war movies — but it lifts a few inches off the ground whenever it locks in on the loneliness that Brown must have felt as he flew towards an aircraft carrier whose landing signal officer may have wanted him to crash, or soared in formation with people who might have been happy to shoot him down.
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