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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    • 31 Metascore
    • 12 Ed Gonzalez
    Fathers and Daughters
    The film's weird reformulation of the Electra complex is nothing short of a sexist fantasy of salvation.
    • 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.
    • 43 Metascore
    • 12 Ed Gonzalez
    Equals
    The Drake Doremus film all comes down, simplistically and repeatedly, to “feelings make us feel alive.”
    • 27 Metascore
    • 25 Ed Gonzalez
    Nina
    The film is committed to the sort of broad strokes that reduce a great artist's life to a spectacle of self-pity.
    • 50 Metascore
    • 38 Ed Gonzalez
    Holidays
    Every short exudes a commercially slick anonymity that effectively flattens any potential excitement.
    • 36 Metascore
    • 25 Ed Gonzalez
    Criminal
    Criminal's absence of style, the lack of relish the filmmakers take in the material's inherent ludicrousness, is a failure of conviction.
    • 51 Metascore
    • 75 Ed Gonzalez
    Hardcore Henry
    The film's unbelievably precise choreography of action seeks to tap into a universal feeling of powerlessness.
    • 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.
    • 43 Metascore
    • 12 Ed Gonzalez
    Backtrack
    The film is the cinematic equivalent of watching a Rubik's Cube noisily solve itself for 90 minutes.
    • 34 Metascore
    • 38 Ed Gonzalez
    The Forest
    The so-called suicide forest's cultural value is trivialized in the bum-rush to liberate the main characters from their agonies.
    • 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.
    • 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.
    • 66 Metascore
    • 38 Ed Gonzalez
    The Danish Girl
    In so clearly viewing Lili through the lens of 21st-century political correctness, the film only blunts the resolve of her struggle.
    • 55 Metascore
    • 38 Ed Gonzalez
    Concussion
    The tacky and loose means by which the platitudinous screenplay dances around what ails the story's football players is just one cog in a whirligig of pat representations.
    • 51 Metascore
    • 38 Ed Gonzalez
    Love
    Gaspar Noé's lack of self-investigation merely situates the film as a libidinal advertisement for a tantrum-prone filmmaker's delayed adulthood.
    • 29 Metascore
    • 25 Ed Gonzalez
    Rock the Kasbah
    The film quickly settles into a depressingly one-note groove as a culture-clashing circus act.
    • 79 Metascore
    • 38 Ed Gonzalez
    Beasts of No Nation
    Cary Joji Fukunaga’s artistry registers less as psychological imprint than as a measure of his professional bona fides.
    • 75 Metascore
    • 75 Ed Gonzalez
    Microbe and Gasoline
    Microbe and Gasoline is enervating for both relishing whimsy and looking behind it to absorb the yearnings of youth and its attendant complications in all their nakedness.
    • 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.
    • 43 Metascore
    • 38 Ed Gonzalez
    Maze Runner: The Scorch Trials
    Every set piece brings to mind an Epcot Center attraction built from borrowed parts, geared toward reinforcing the young audience's belief that adults just don't understand them.
    • 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.
    • 82 Metascore
    • 75 Ed Gonzalez
    Sicario
    Denis Villeneuve's film views life in the age of the modern-day drug war as an ever-crescendoing existential nightmare.
    • 68 Metascore
    • 38 Ed Gonzalez
    Z for Zachariah
    The film squanders the promise of its scrutiny into how people recalibrate their sense of morality in times of crisis.
    • 32 Metascore
    • 25 Ed Gonzalez
    Sinister 2
    It merely exudes an aura of cheap manipulation by which the audience is simply asked to rank the film's characters on a d-bag scale and root for their survival, or destruction, accordingly.
    • 34 Metascore
    • 38 Ed Gonzalez
    Self/less
    The film's corporate blandness is almost as dispiriting as its disinterest in exploiting the inherent saliency of the material.
    • 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.
    • 86 Metascore
    • 75 Ed Gonzalez
    Tangerine
    Its triumph is primarily a matter of style, a visionary revelation every bit as expressionistic as its main character's electric sense of shade.
    • 27 Metascore
    • 12 Ed Gonzalez
    Bound to Vengeance
    It trivializes victim trauma by treating its main character's best-laid plans as punchline fodder.
    • 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.
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