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
1:21 pm
Fri September 7, 2012

'Bachelorette' Sounds Dark Comedic Depths

Party Animals: Lizzy Caplan (from left), Isla Fisher and Kirsten Dunst play the brazen bridesmaids who make trouble for bride-to-be Becky (Rebel Wilson) in Bachelorette.
Radius-TWC

Originally published on Fri September 7, 2012 1:55 pm

Long before Bridesmaids convinced studio executives that a raunchy, female-centric comedy could find a huge audience, Leslye Headland was busy adapting her play Bachelorette into a movie. So this isn't a copycat rom-com, but the themes do overlap. Each film turns on a female rivalry: In Bridesmaids, it's between the maid of honor, Kristen Wiig, and the bride's rich friend, played by Rose Byrne. In Bachelorette, the rivalry is more complicated, more ... ugly. It's between the three, 30-ish, unmarried central characters and the bride.

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Movie Reviews
1:03 pm
Wed August 8, 2012

Sixty And Sexless, But 'Hope Springs' Eternal

In Hope Springs, Kay (Meryl Streep) forces Arnold (Tommy Lee Jones) into a week of couples therapy after she gets tired of — among other things — sleeping in separate bedrooms.
Barry Wetcher Sony Pictures

Originally published on Wed August 8, 2012 2:58 pm

The last time my 14-year-old daughter saw me and my wife being affectionate, she said, "Ewwww, old people kissing." Now, I'm not so old — barely half a century. But let's be frank. My daughter's no different from many people whose objects of fantasy are young and freakishly fit. So even a mild, cutesy little comedy like Hope Springs about two sexagenarians trying to have sex can seem shocking, even transgressive.

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Movie Reviews
12:06 pm
Fri July 27, 2012

Two Films Shoot Past Realism To Weirder Territory

A Dallas hard-luck case (Emile Hirsch, left) hires a corrupt cop (Matthew McConaughey) to kill his estranged mother when he hears about her rich insurance policy. Needless to say, the plot of Killer Joe doesn't quite work out as planned.
Skip Bolen LD Entertainment

Originally published on Fri July 27, 2012 3:12 pm

Amid the slapstick comedies, sequels and superhero movies that have come to define summer moviegoing, two films opening today center on disturbed and disturbing romantic ties. Ruby Sparks and Killer Joe aren't fantasy or horror pictures, but they're within screaming distance — close enough to remind you how much deeper artists go when they barrel past realism into weirder areas of the psyche.

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Movie Reviews
5:55 pm
Wed July 18, 2012

As Class Warfare Brews, A 'Dark Knight Rises'

The Dark Knight Rises begins eight years after The Dark Knight, with Bruce Wayne (Christian Bale) living a reclusive life at his mansion alongside Alfred (Michael Caine). The movie is the finale of Christopher Nolan's Batman trilogy.
Ron Phillips Warner Bros. Pictures

Originally published on Fri July 20, 2012 11:54 am

The canvas is epic, the themes are profound, the execution is ... clunky. Welcome to Christopher Nolan's third and allegedly final Batman picture, The Dark Knight Rises — that so-called rising taking hours, by the way. No Batman film ever had less Batman.

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Movie Reviews
5:03 pm
Thu July 12, 2012

'Margaret': The Tortured Journey Of A Girl, On Screen

Sarah Steele, Anna Paquin and Matthew Broderick in Margaret. The DVD release of Kenneth Lonergan's long-delayed second film includes the theatrical version and an extended 186-minute cut.
Fox Searchlight Pictures

Originally published on Fri July 13, 2012 12:56 pm

"A fiasco with a great first half" is what I called Kenneth Lonergan's Margaret when it was dumped in one New York theater last fall, five years after it was shot, amid a legal battle between Lonergan and a producer.

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