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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Movie Reviews
9:25 am
Fri March 2, 2012

'The Lorax': A Campy And Whimsical Seussical

The Once-ler (voiced by Ed Helms) and the Lorax (Danny DeVito) are surrounded by bar-ba-loots in Truffula Valley in Dr. Seuss' The Lorax.
Universal Pictures

Originally published on Fri March 2, 2012 11:02 am

At the far end of town
Where the Grickle-grass grows
And the wind smells slow-and-sour when it blows
And no birds ever sing excepting old crows ...
Is the Street of the Lifted Lorax.

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Movie Reviews
9:43 am
Fri February 24, 2012

'Wanderlust': A Zany Blast From The Communal Past

Orange You Glad We Wound Up Here? George (Paul Rudd) and Linda (Jennifer Aniston) play an unemployed Manhattan couple who stumble into a hippie farming commune whose denizens include characters played by Justin Theroux and Alan Alda.
Gemma La Mana Universal PIctures

Originally published on Fri February 24, 2012 12:15 pm

In sophisticated comedy, what's funny is the tension between proper manners and the nasty or sexy subtext. Whereas in low comedy, there are no manners, and the nasty or sexy subtext is right there on the surface.

And then there's Wanderlust, in which the subtext is blasted through megaphones — the characters say so insanely much you want to scream. The satire is as broad as a battleship and equally bombarding. But it takes guts to do a comedy this big without gross-out slapstick, and the writers and the actors are all in.

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Movie Reviews
2:08 pm
Thu February 16, 2012

A Veteran's 'Return' To The Front Lines Of Home

Linda Cardellini plays a vet who returns from overseas with no way to make sense of where she was and what it meant in director Liza Johnson's new drama Return.
Dada Films

Originally published on Fri February 17, 2012 11:36 am

The coming-home genre is so rife with stock ingredients that first I'd like to tell you what Liza Johnson's very fine drama Return doesn't do. The camera doesn't move in on returning-veteran Kelli, played by Linda Cardellini, as the sound of battle rises and she's back in her head on the front lines. The film doesn't give you what I call the "psychodrama striptease," in which a past trauma is revealed piece by piece until you're finally, at the end, shown the essential bit.

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Movie Reviews
10:11 am
Thu February 9, 2012

'Safe House,' 'Haywire': Watch Them Back To Back

Mixed martial arts fighter Gina Carano stars as Mallory Kane, a highly trained covert operative, in a twisty, tautly wrought thriller.
Claudette Barius Relativity Media

Originally published on Fri February 10, 2012 10:19 am

The flashy Denzel Washington thriller Safe House will probably gross in a few hours what Steven Soderbergh's Haywire has made in several weeks, but if you like action you ought to catch both back to back. Soderbergh's film is a reaction to the jangled, high-impact style of Safe House and its ilk.

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Movie Reviews
9:23 am
Thu January 26, 2012

In 'Albert Nobbs,' Glenn Close Does More Than Pass

Albert Nobbs (Glenn Close) and Helen (Mia Wasikowska) go on a series of awkward dates in Albert Nobbs, a film based on a 1918 George Moore story.
Patrick Redmond Roadside Attractions

Originally published on Thu January 26, 2012 11:39 am

As Albert Nobbs, Glenn Close has hair that's cropped and orangey, and a voice that rarely rises above a nasal croak. She lives and works as a waiter in a high-toned hotel, where she stands with lips pressed together, tight yet tremulous, her searching eyes her only naturally moving parts. She resembles no man I've seen, but no woman, either. She's the personification of fear — fear of being discovered to be a woman. Because hers is a society that treats all poor people badly, but poor women worse.

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Movie Reviews
9:57 pm
Thu January 19, 2012

'Coriolanus': A People's Hero Turns On His Own

Bare-Knuckle Politics: The battle-hardened Roman general Coriolanus (Ralph Fiennes) runs for office at the urging of his mother (Vanessa Redgrave) — but it turns out he's no booster of majority rule.
Larry D. Horricks The Weinstein Co.

Originally published on Fri January 20, 2012 10:16 am

Ralph Fiennes showed up for a frenzied cameo near the end of Kathryn Bigelow's The Hurt Locker, and her hand-held, adrenaline-charged approach clearly inspired his film of Shakespeare's Coriolanus, which he both acts and directs the bloody hell out of.

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Movie Reviews
1:02 pm
Thu January 12, 2012

An 'Iron Lady' Fully Inhabited By Meryl Streep

Meryl Streep (center) stars as Margaret Thatcher in Phyllida Lloyd's biopic about the former prime minister of the United Kingdom.
The Weinstein Co.

Originally published on Fri January 13, 2012 10:12 am

I admit I was biased against the Margaret Thatcher biopic The Iron Lady. Not, you understand, against Thatcher and her Tory politics. Against Meryl Streep and her accents. Which are great, no doubt. But I went in resolved not to fall for her pyrotechnics yet again. I wanted realism.

Well, it didn't take long to realize that I was watching not only one of the greatest impersonations I'd ever seen — but one that was also emotionally real.

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Movie Reviews
9:46 am
Fri January 6, 2012

'Extremely Loud' And Incredibly Manipulative

A year after his father's death in the World Trade Center, 11-year-old Oskar Schell (Thomas Horn) sets out on a citywide scavenger hunt to find a missing lock that he hopes will reveal a message from his dad.
Francois Duhamel Warner Bros. Pictures

Originally published on Thu February 23, 2012 3:24 pm

Some critics are indignant over Stephen Daldry's film of Jonathan Safran Foer's book Extremely Loud and Incredibly Close. They say the appropriation of Sept. 11 for such a sentimental work is exploitation.

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