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davidehrlich has written 227 reviews for films during 2017.

  • The Commuter

    The Commuter


    The silliest of the low-rent, high-impact thrillers that Jaume Collet-Serra and Liam Neeson have made together (“Unknown,” “Non-Stop,” and “Run All Night” being the previous three), “The Commuter” may not match the potent charge of their earlier collaborations, but this amusingly ridiculous ride is still a few cuts above the kind of swill you’d expect to arrive in theaters on the second weekend of January.

    This may be a forgettable movie about the forgotten man — a blue-collar morality play…

  • Bright



    There’s boring, there’s bad, and then there’s “Bright,” a movie so profoundly awful that Republicans will probably try to pass it into law over Christmas break. From the director of “Suicide Squad” and the writer of “Victor Frankenstein” comes a fresh slice of hell that somehow represents new lows for them both — a dull and painfully derivative ordeal that that often feels like it was made just to put those earlier misfires into perspective. The only thing more predictable…

  • The Greatest Showman

    The Greatest Showman


    Ignore the vintage 20th Century Fox logo that appears on screen at the start of the film, “The Greatest Showman” is nothing if not a uniquely 21st century spectacle, a gaudy sonic boom of musical cinema that tries to sell you on the magic of the movies like it’s Black Friday at a store that’s going out of business. Welcome, ladies and gentlemen, to a joyfully insane experience that’s as subtle as a circus and twice as loud. Forget the…

  • Star Wars: The Last Jedi

    Star Wars: The Last Jedi


    This review may contain spoilers. I can handle the truth.


    “Let the past die. Kill it, if you have to. That’s the only way to become what you are meant to be.” — Kylo Ren

    “The Last Jedi” is the best Star Wars movie since “The Empire Strikes Back,” but it’s also a lot more than that — it’s as much of a new hope for the eroding blockbuster culture of 2017 as “A New Hope” was for the emerging blockbuster culture of 1977. Needless to say, this…

  • Birdboy: The Forgotten Children

    Birdboy: The Forgotten Children


    The opening moments of “Birdboy: The Forgotten Children” unfold like an urgent warning to any parents who might think that this is just another kid-friendly animated film about cute animals who learn valuable lessons. “The future is past,” a voice insists from the darkness, speaking in Spanish and accompanied by exclamatory subtitles (an English-language version is also available). “The garbage is the present. Blood is the law!” From there, we’re hurled through the history of a once-vibrant storybook world, a…

  • Alien: Covenant

    Alien: Covenant


    ***Michael Fassbender for Best Actor AND Best Supporting Actor Plz***

    It’s easy to understand why Michael Fassbender hasn’t been floated as a potential Best Actor nominee for his work in “Alien: Covenant.” For one thing, the Oscars seldom acknowledge the fact that great acting can sometimes be found in massive summer tentpoles, even ones that underwhelm at the box office. For another, it would prove difficult to honor Fassbender’s work without splitting the vote or committing some kind of category…

  • Star Wars: The Last Jedi

    Star Wars: The Last Jedi


    this is the best star wars movie.

    in my particular mind, this is also the first *great* star wars movie. (it helps that i have no special reverence for the original trilogy. it also helps that this movie has so many fucking PORGS).

    will get into it once people see the movie.

    (as for whether it would have made my top 25… i don't know and i don't care).

  • Jumanji: Welcome to the Jungle

    Jumanji: Welcome to the Jungle


    A semi-related sequel to a 1996 kids movie that exactly zero human beings have watched since the death of VHS, the mildly amusing “Jumanji: Welcome to the Jungle” is further proof that even the stalest whiff of brand recognition has become preferable to originality. Only part of the blame for that belongs to the studios, but after cannibalizing themselves for much of the last 20 years, Hollywood has clearly eaten their way down to the crumbs.

    That’s not to suggest…

  • Lady Macbeth

    Lady Macbeth


    There aren’t very many words spoken in William Oldroyd’s “Lady Macbeth” — most of the communication is done through sex, abuse, and murder — but not a one of them is wasted or forgotten. Indeed, the film’s emblematically terse first exchange looms over the 85 minutes that follow like a dark shadow on a bitter day, and it’s proof that Florence Pugh deserves more attention in this year’s competitive awards season.

    It’s Katherine’s (Pugh) wedding night, and the 17-year-old bride…

  • The Post

    The Post


    There’s topical, there’s timely, and then there’s “The Post,” which feels less like a historical thriller set in 1971 than it does an exhilarating caricature of the year 2017. While Steven Spielberg’s latest film rivetingly dramatizes the publication of the Pentagon Papers (and eloquently unpacks the consequences of their dissemination), “The Post” wears the Nixon era like a flimsy disguise that it wants you to see right through.

    That’s not to take away from Ann Roth’s ratty and exquisite period…

  • Voyeur



    Once upon a time, somewhere in the span between F. Scott Fitzgerald and Hunter S. Thompson, a dapper posse of aristocrat journalists thrived by combining pre-war sophistication with post-war sexuality. Belonging neither to the old world or the new, they were prophets of their present moment, a transitional group that helped lay the foundation for a culture that wouldn’t be able to accommodate them.

    Gay Talese was perhaps the most notable of the group. The godfather of indulgent celebrity profiles,…

  • Cuba and the Cameraman

    Cuba and the Cameraman


    When Americans think of Cuba, we tend to think of a place, and not a people. The same was true of East Germany, it’s still true of North Korea, and it will always be true of countries that are defined by their inaccessibility. Borders are blinding, and islands are isolated by more than just water. Only 105 miles separate Havana from Key West, but you can’t see anything on the horizon when you stand at the bottom tip of the…