Ed Gonzalez

Select another critic »
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
view
per page
    • 50 Metascore
    • 38 Ed Gonzalez
    Lovely Molly
    The film's inconsistent, largely bankrupt style is second to how hard and tackily it leans on the horror of child abuse to goose audiences.
    • 50 Metascore
    • 63 Ed Gonzalez
    The Purge: Anarchy
    DeMonaco may doubly, sometimes triply, underline the story's governing theme of social power and how it's exchanged, but the rage and lucidity of these ideas resonate.
    • 49 Metascore
    • 12 Ed Gonzalez
    Enemies Closer
    JCVD may not say it best, but he does say it aptly, when his manically cartoonish baddie caps one murder with the assertion that "shit happens."
    • 49 Metascore
    • 38 Ed Gonzalez
    Krampus
    At the center of the film is a conservative lesson that asks us to unquestioningly abide by society's capitalistic impulses.
    • 49 Metascore
    • 38 Ed Gonzalez
    Desert Dancer
    The film's relentless turning of its characters' experience into platitudes and homilies is served for our too-easy consumption.
    • 49 Metascore
    • 38 Ed Gonzalez
    Words and Pictures
    At least the irony with which this transparently written and dispassionately aestheticized film so demagogically argues for the value of words and pictures is brutally convincing.
    • 49 Metascore
    • 25 Ed Gonzalez
    Silent House
    Silent House dies a sudden and egregious death when the amateur players in Olsen's company, Adam Trese and Eric Sheffer Stevens, as her character Sarah's father and uncle, respectively, open their traps.
    • 49 Metascore
    • 38 Ed Gonzalez
    Firebird
    There are clichés and then there are only clichés, and Firebird is suffocated by them.
    • 48 Metascore
    • 25 Ed Gonzalez
    Ride
    Throughout, Helen Hunt obsequiously tends to her character's evolution as a parent through a flagrant indulgence of sitcom-ish scenarios.
    • 48 Metascore
    • 63 Ed Gonzalez
    The Den
    The film is dizzyingly creepy in its refracting of horrors through the cascading windows of computer programs we've come to understand more intimately than our own selves.
    • 48 Metascore
    • 50 Ed Gonzalez
    Kiss of the Damned
    Xan Cassavetes cops to nothing more significant than being more keen on Vampyros Lesbos than anyone else from her clan of famous cinephiles.
    • 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.
    • 48 Metascore
    • 50 Ed Gonzalez
    To the Arctic
    Though the film is light on anthropomorphization, its aesthetic is nothing if not infantile.
    • 47 Metascore
    • 38 Ed Gonzalez
    Asphalt City
    Shove everything into the meat grinder of cynicism and, in the end, your insights come to feel purely incidental.
    • 47 Metascore
    • 75 Ed Gonzalez
    Maniac
    Its audio-visual overload testifies to a group of filmmakers' belief that some films are made to be remade.
    • 47 Metascore
    • 38 Ed Gonzalez
    The Returned
    It proves that the zombie narrative is still capable of subversion, but does so with the laziest, Lifetime-grade intimations of social relevance.
    • 46 Metascore
    • 38 Ed Gonzalez
    Alien Abduction
    A few jolting scares are deployed throughout, but more difficult to shake is how the story's overacting lambs walk a rather programmatic path toward slaughter--or at least anal probing.
    • 46 Metascore
    • 38 Ed Gonzalez
    Now You See Me 2
    The sheer amount of people and incident indifferently presented throughout this film suggests only an obligation to quota-filling.
    • 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.
    • 46 Metascore
    • 50 Ed Gonzalez
    Horns
    For a story so unconventional, it's executed without director Alexandre Aja's typical commitment to anarchic awe.
    • 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.
    • 45 Metascore
    • 38 Ed Gonzalez
    [REC] 3: Genesis
    If a fourth entry wasn't already in the works, [Rec] 3: Genesis could have easily represented the nail in the franchise's coffin.
    • 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.
    • 45 Metascore
    • 38 Ed Gonzalez
    Blood Glacier
    The film straddles a very awkward line between creature feature, conspiracy thriller, and domestic drama, all without novelty or suspense.
    • 44 Metascore
    • 25 Ed Gonzalez
    Brightburn
    The way the film shuttles through its 90 minutes, it’s as if it’s been stripped of its most crucial narrative parts.
    • 44 Metascore
    • 25 Ed Gonzalez
    Aftermath
    The film evokes nothing more strongly than a live-action adaptation of a Crate and Barrel catalog.
    • 43 Metascore
    • 63 Ed Gonzalez
    Step Up Revolution
    The film busts a fierce move but never relishes the unique cultural essence that its gentrifying baddie threatens to snuff out.
    • 43 Metascore
    • 38 Ed Gonzalez
    San Andreas
    In Brad Peyton's San Andreas, the biggest earthquake in recorded history is less natural disaster than divorce negotiation process.
    • 43 Metascore
    • 12 Ed Gonzalez
    Equals
    The Drake Doremus film all comes down, simplistically and repeatedly, to “feelings make us feel alive.”
    • 43 Metascore
    • 50 Ed Gonzalez
    Machine Gun Preacher
    Marc Forster regards the real-life Childers's evolution from heroin-addicted, wife-beating (implied), gun-toting oblivion to born-again do-gooderism with motorized aloofness.
Page:

Top Trailers

See all »
See all trailers »