David Edelstein
David Edelstein is a film critic for New York magazine and for NPR's Fresh Air, and an occasional commentator on film for CBS Sunday Morning. He has also written film criticism for the Village Voice, The New York Post, and Rolling Stone, and is a frequent contributor to the New York Times' Arts & Leisure section.
A member of the National Society of Film Critics, he is the author of the play Blaming Mom, and the co-author of Shooting to Kill (with producer Christine Vachon).
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The Argentinean film co-produced by Pedro Almodovar is up for an Oscar for best foreign language film. It features a drunk teenager who runs over a woman and an angry bride at a glitzy Jewish wedding.
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The film, based on E.L. James' best-selling novel, has been denounced by decency brigades. But it's a surprisingly mild, corny romance that affirms traditional values: It's Jane Eyre with ropes.
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The SpongeBob Movie: Sponge Out of Water is visually an eyesore — a kaleidoscope of bright, mismatched colors, and in 3-D to make your headache stronger. The movie makers hit the bull's-eye.
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The movie, one of five Academy Award nominees for best foreign language film this year, is about radical Islamists occupying the city in Mali. Remarkably, it's often on the verge of being a comedy. -
The movie is based on neuroscientist Lisa Genova's novel about a linguistics professor with early-onset Alzheimer's disease. While Moore is fascinating, the rest of the characters are half-formed.
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The film about Martin Luther King's marches for voting rights is being accused of alleged historical inaccuracies. Critic David Edelstein says that's "not entirely" fair, and it's still a great movie.
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Film critic David Edelstein says in 2014 none of the great material came from Hollywood studios. But, he says, it was a "wonderful year" for indie films. He names Boyhood as the best of the year. -
The biopic of landscape painter J. M. W. Turner depicts a man whose mind is barely engaged by anything other than his work. He's a mystery, and his art is magically indefinite — just like the movie.
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The film, based on Thomas Pynchon's novel, is set in 1970 in a beach town south of Los Angeles. With wonderful actors, it's like a gorgeous stoner art object: groovy, campy, dreamlike and funny.
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In the Australian chiller, a bogeyman announces himself in a rhyming, pop-up book on a 7-year-old's shelf. But the real horror is that the boy's mom, a grieving widow, is battling psychic demons.
