DAVID EHRENSTEIN
Agrees with the Tomatometer 74% of the time.
Publications: Dallas Observer, L.A. Weekly, New Times
Critics' Group: Los Angeles Film Critics Association
Total Reviews: 44
LISTING OF ALL REVIEWS & ARTICLES
| Rating | T-Meter | Title | Year | Add Date (default) |
|---|---|---|---|
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| The Times of Harvey Milk (1984) | " A lot has happened in the 25 years between Rob Epstein’s Oscar-winning 1984 documentary and Gus Van Sant’s biopic, but the subject of the nation’s signal gay rights leader is as relevant as ever." — L.A. Weekly |
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| Factory Girl (2007) | " Sienna Miller captures much of Edie’s physical manner and some of her voice (though she’s nowhere near deep enough), but there’s nothing she can do with material that requires her to mope and pout for the bulk of her screen time." — L.A. Weekly |
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| His Secret Life (2002) | " Ozpetek joins the ranks of those gay filmmakers who have used the emigre experience to explore same-sex culture in ways that elude the more nationally settled." — Dallas Observer |
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| The sight of the spaceship on the launching pad is duly impressive in IMAX dimensions, as are shots of the astronauts floating in their cabins. — New Times | |
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| Quitting (2002) | This is darkest drama reminiscent of Antonin Artaud's literary experiments in psychoanalysis. — New Times |
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| All About Lily Chou-Chou (2002) | While this has the making of melodrama, the filmmaker cuts against this natural grain, producing a work that's more interested in asking questions than in answering them. — New Times |
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| The Cockettes (2002) | In addition to lively interviews with surviving Cockettes features a dizzying array of vintage footage of the troupe in action. — New Times |
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| Notorious C.H.O. The Movie (2002) | Cho continues her exploration of the outer limits of raunch with considerable brio. — New Times |
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| Circuit (2002) | What's most memorable about Circuit is that it's shot on digital video, whose tiny camera enables Shafer to navigate spaces both large ... and small ... with considerable aplomb. — New Times |
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| The Komediant (2002) | While centered on the life experiences of a particular theatrical family, this marvelous documentary touches -- ever so gracefully -- on the entire history of the Yiddish theater, both in America and Israel. — New Times |
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| Pepe Le Moko (1937) | A vehicle for Jean Gabin whose quicksilver charm hasn't aged in over 60 years. — New Times |
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| Esther Kahn (2002) | Beautifully produced. — New Times |
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| Time Out (2002) | It's a subtle mood piece in which a man's collapse is examined so rigorously that one almost hopes for a murder to come along and break the tension. — New Times |
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| American Chai (2002) | Though the climactic revelation and resolution is expected, the film is full of fresh and unexpected observations about the cross-culturally complex lives of second-generation Indians living in the U.S. — New Times |
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| Sorority Boys (2002) | Not only unfunny, but downright repellent. — New Times |
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| Drift (2000) | Shot on digital video, with a sharp eye for Los Angeles locales, this is a well-shaped piece of work -- despite its overly earnest characters' penchant for psychobabble. — New Times |
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| Female Trouble (1975) | How do you follow-up Pink Flamingos? Not with a work that tries to outdo that classic gross-out comedy, but rather by moving in another direction entirely that's just as subversive, if not more so. — New Times |
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| Chop Suey (2001) | With footage of Faye in performance, and interviews with her friends and associates, Weber uses Faye as base from which to branch out in bizarre directions. — New Times |
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| Trembling Before G-d (2001) | ... deeply moving and exceptionally gracious piece of documentary filmmaking. — New Times |
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| The Way We Laughed (2001) | Beautifully made and performed, this is a film of considerable insight into both the life of the impoverished and the mystery of human personality. — New Times |
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| The Fluffer (2001) | A film for the chastened romantic in us all -- gay, straight or 'for pay.' — New Times |
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| Eban and Charley (2000) | Few things are quite as frustrating as a film that chooses a highly controversial subject then proceeds to give it the kid-glove treatment. — New Times |
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| Princesa (2001) | Princesa, like its heroine, is not at all what it seems at first. For its immediately straightforward melodramatics leave in the film's wake a haunting afterglow of a life not easily resolved by a screenplay's third act. — New Times |
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| Second Skin (2000) | No article or quote available — New Times |
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| Second Time Around (2002) | Vera's technical prowess ends up selling his film short; he smoothes over hard truths even as he uncovers them. — New Times |
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| Punks (2001) | While this amiable romantic comedy ... is sure to please most of its target audience, others are going to leave the theater humming that Peggy Lee classic 'Is That All There Is?' — New Times |
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| Burnt Money (2001) | Incredibly violent yet emotionally compelling. — New Times |
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| Intimacy (2001) | A lacerating study of sexual alienation. — New Times |
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| Downtown 81 (1981) | Director Edo Bertoglio and writer-producer Glenn O'Brien gave [Basquiat] little to do but walk around and look pretty. — New Times |
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| I Will Survive (1999) | A thoughtful, well-acted and well-observed (though bleak) look at what some people have to put up with to get through life. — New Times |
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| The Debut (2000) | All involved seem keyed into the subtextual subtleties of a story that, while simple on the surface, is exceedingly rich underneath. — New Times |
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| The Iron Ladies (2001) | Where The Iron Ladies makes its mark, and holds our interest, is in the way it integrates old-fashioned 'low' comedy with social observation. — New Times |
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| Come Undone (2001) | Charged by Rideau's amazingly sexy performance as the most forthright gay character put on screen to date. — New Times |
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| Our Lady of the Assassins (2001) | What's truly upsetting about Barbet Schroeder's film, adapted from Fernando Vallejo's autobiographical novel, is the clear-eyed, resolute way it offers us access to a world that few outside it know of -- or would want to know. — New Times |
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| Speedway Junky (2001) | The film belongs to Jordan Brower, whose every appearance breaks one's heart, and makes some otherwise familiar material come alive. — New Times |
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| The Monkey's Mask (2001) | Think Basic Instinct with brains, and you've got it. — New Times |
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| The Adventures of Felix (2001) | A film whose surface charm never gets in the way of its profound seriousness about living life to the fullest. — New Times |
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| Hedwig and the Angry Inch (2001) | Offers an enormous amount of pure silly fun for the entire non-nuclear family, no matter what gender they may be. — New Times |
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| Big Eden (2001) | Has all the crowd-pleasing elements moviegoers respond to. — New Times |
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| The Low Down (2001) | If you want to get in on the ground floor of Aidan Gillen's certain-to-be-skyrocketing career, it's a good place to start. — New Times |
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| Before Night Falls (2000) | A truly amazing performance by Javier Bardem. — New Times |
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| Cecil B. Demented (2000) | Cecil B. Demented is essential viewing. — New Times |
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| Play it to the Bone (1999) | Dazed and confused. — New Times |
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