Ed Gonzalez

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Slant Magazine
For 255 reviews, this critic has graded:
  • 31% higher than the average critic
  • 3% same as the average critic
  • 66% lower than the average critic
On average, this critic grades 9.4 points lower than other critics. (0-100 point scale)

Ed Gonzalez's Scores

  • Movies
  • TV
Average review score: 56
Highest review score: 100 Deep Red
Lowest review score: 12 Nurse 3D
Score distribution:
  1. Positive: 116 out of 255
  2. Mixed: 51 out of 255
  3. Negative: 88 out of 255
255 movie reviews
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    • 70 Metascore
    • 50 Ed Gonzalez
    Materialists
    As its second half begins to focus more on Lucy’s dating dilemma, and how she’s forced to confront her firmly established beliefs and rules about dating, the film hews increasingly close to the narrative expectations of the traditional rom-com.
    • 64 Metascore
    • 50 Ed Gonzalez
    The Damned
    Had we been allowed to truly sit with the characters’ prejudices, then The Damned might have earned the desperation with which it strains for contemporary resonance.
    • tbd Metascore
    • 50 Ed Gonzalez
    Iron Butterflies
    Roman Liubyi’s documentary is nothing if not self-consciously obsessed with its own making.
    • 76 Metascore
    • 50 Ed Gonzalez
    Tigers Are Not Afraid
    It never resolves its commingling of the fanciful and the mundane into a particularly coherent argument about the legacy of trauma.
    • 46 Metascore
    • 50 Ed Gonzalez
    El Chicano
    Throughout, the film peddles notions of self-realization and self-actualization that feel nothing short of moth-eaten.
    • 63 Metascore
    • 50 Ed Gonzalez
    Pope Francis - A Man of His Word
    It often plays like a toothless PR video designed to rehabilitate the Catholic Church's reputation in the wake of its global pedophilia scandal.
    • 52 Metascore
    • 50 Ed Gonzalez
    Paul, Apostle of Christ
    The film's simple, redundant, but valuable moral lesson to its audience finds comfortable enough expression in an aesthetic that's banal but impressively consistent.
    • 48 Metascore
    • 50 Ed Gonzalez
    The Mountain Between Us
    Hany Abu-Assad’s film is notable for the way it fixates on its characters’ rush toward survival, homing in on the intimacy that they achieve without ever suggesting that there’s any actual romance in their future.
    • 46 Metascore
    • 50 Ed Gonzalez
    Detour
    The effect of the film becomes not unlike watching a puzzle solve itself without demanding either the audience’s emotional or intellectual investment.
    • 50 Metascore
    • 50 Ed Gonzalez
    Edge of Winter
    One comes to resent the film for how it thrills to the possibility of a father hurting his children.
    • 54 Metascore
    • 50 Ed Gonzalez
    Free to Run
    The doc's caginess is a weakness that results from an inherently nostalgic sense of reverie.
    • 28 Metascore
    • 50 Ed Gonzalez
    London Has Fallen
    Like its predecessor, the film is content to dumbly relish in the inanity of Mike's rampage.
    • 91 Metascore
    • 50 Ed Gonzalez
    Son of Saul
    The film's meticulousness orchestration only calls attention to its dubious sense of purpose, which lies beyond human subjectivity.
    • 38 Metascore
    • 50 Ed Gonzalez
    The Green Inferno
    The savagery here is rooted in retrograde myths that might have been easier to stomach had the cannibalism been positioned as a fantastical unleashing of retribution.
    • 50 Metascore
    • 50 Ed Gonzalez
    Freeheld
    The filmmakers, for better and for worse, stay out of the actresses' way, as Freeheld's artistry is so unadorned that the performances somehow feel more naked as a result.
    • 55 Metascore
    • 50 Ed Gonzalez
    Jackie & Ryan
    The film comes undone in its clumsy attempts to transform its story into a parable of economic distress.
    • 72 Metascore
    • 50 Ed Gonzalez
    Dope
    Dope is a mess of styles and mixed signals, a pulp fiction that mostly tend to its loyalties to other cine-odysseys through the streets of Los Angeles.
    • 52 Metascore
    • 50 Ed Gonzalez
    Insidious: Chapter 3
    In lieu of advancing a view of the dead's dominion that doesn't abide by the law of "just becauses," Chapter 3 is often content to wink at the ways the first two films spooked audiences.
    • 72 Metascore
    • 50 Ed Gonzalez
    Slow West
    A pageantry of pseudo-art poses, a self-consciously cool reorientation of the western as silly symphony.
    • 51 Metascore
    • 50 Ed Gonzalez
    The Age of Adaline
    Less a sincerely kooky elegy to lost time than a slightly off-kilter acting out of familiar rom-com bona fides about commitment-phobes missing out on life.
    • 30 Metascore
    • 50 Ed Gonzalez
    Little Boy
    It conveys life experience to such a sentimentalized degree that the world comes to resemble only the sham of a Norman Rockwell painting.
    • 78 Metascore
    • 50 Ed Gonzalez
    Ex Machina
    In the end, more than just the machine remains an enigma.
    • 45 Metascore
    • 50 Ed Gonzalez
    Tracers
    The lusterless camerawork keys itself almost empathetically to the drab reality of the film's spaces, settled and unsettled alike, but it can't enliven the hackneyed plot.
    • 42 Metascore
    • 50 Ed Gonzalez
    The Woman in Black 2: Angel of Death
    The film ends up cheapening its sense of empathy in its final mad rush to subject audiences to every incarnation of the jump scare imaginable.
    • 71 Metascore
    • 50 Ed Gonzalez
    The Imitation Game
    Given the liberties the film takes, it's surprising that it refuses to penetrate Alan Turing's carnality and allow Benedict Cumberbatch to truly wrestle with the torment of the man's sexuality.
    • 46 Metascore
    • 50 Ed Gonzalez
    Horns
    For a story so unconventional, it's executed without director Alexandre Aja's typical commitment to anarchic awe.
    • 53 Metascore
    • 50 Ed Gonzalez
    ABCs of Death 2
    Irony is a popular pose struck throughout these shorts, which are less revealing of the existentialist despair that death often rouses than they are of their makers' prejudices.
    • 79 Metascore
    • 50 Ed Gonzalez
    Gone Girl
    There's a comic streak to the film that suggests David Fincher may understand the material as trash, but it's the kind of affectation that only reinforces, rather than dulls, its insults.
    • 71 Metascore
    • 50 Ed Gonzalez
    The Theory of Everything
    Meticulous in its adherence to conventional narrative inducement, this biopic only offers a sanded-down and embossed vision of Stephen Hawking and Jane Wilde's 30-year marriage.
    • 39 Metascore
    • 50 Ed Gonzalez
    As Above, So Below
    The film predictably alternates in scaring its characters by tapping into their deepest fears and having them rub shoulders with the relics of a past that insists on being undisturbed.
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