Bilge Ebiri

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L.A. Weekly, New York Magazine (Vulture), The New York Times, Village Voice
For 1,180 reviews, this critic has graded:
  • 59% higher than the average critic
  • 2% same as the average critic
  • 39% lower than the average critic
On average, this critic grades 1.1 points higher than other critics. (0-100 point scale)

Bilge Ebiri's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 Cyrano
Lowest review score: 0 Dolittle
Score distribution:
  1. Positive: 711 out of 1180
  2. Mixed: 366 out of 1180
  3. Negative: 103 out of 1180
1180 movie reviews
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per page
    • 74 Metascore
    • 80 Bilge Ebiri
    Far From Men
    What makes it work is the solemn efficiency of director David Oelhoffen’s storytelling and the quiet intensity of the two leads.
    • 74 Metascore
    • 60 Bilge Ebiri
    Dream Scenario
    Kristoffer Borgli’s Dream Scenario starts off with a rich, surreal premise, and for much of its running time, it mixes playful, cringe-comic energy with an undercurrent of existential anxiety. But it eventually manages to undo much of what made it so tantalizing by turning metaphor and subtext into a more narrow-minded satire.
    • 74 Metascore
    • 70 Bilge Ebiri
    Big Hero 6
    Therein lies part of the dissonance with this often-wonderful, deceptively strange movie. You could get emotional whiplash watching it.
    • 85 Metascore
    • 90 Bilge Ebiri
    One in a Million
    Azzam and MacInnes give us a modern-day epic that traverses borders — truly, they’ve captured some incredible footage — but they outdo themselves by following that up with an absorbing, complex tale about the challenges of assimilation.
    • 74 Metascore
    • 70 Bilge Ebiri
    Will & Harper
    The film’s most powerful achievement is perhaps also its most basic: the simple sight of two friends talking, openly and gently, about all the things on their minds.
    • 74 Metascore
    • 80 Bilge Ebiri
    The Golden Dream
    Don’t expect incendiary topicality from The Golden Dream; this is more poetry than politics.
    • 74 Metascore
    • 80 Bilge Ebiri
    tick, tick...Boom!
    It’s a movie that sings, poignantly, from many times at once.
    • 74 Metascore
    • 80 Bilge Ebiri
    Little Woods
    It’s a testament to the strength of Thompson’s performance, and DaCosta’s control of tone and action, that for all the bleakness of this world, we keep watching. The result is a work that lingers, grimly, in the mind.
    • 74 Metascore
    • 80 Bilge Ebiri
    Thor: Ragnarok
    In its own weird little way, Thor: Ragnarok manages to poke fun at the constant churn of myth and entertainment of which the movie itself is a part. It’s a candy-colored cage of delights, but it is a cage nevertheless — and it doesn’t hide that fact.
    • 73 Metascore
    • 60 Bilge Ebiri
    Novitiate
    There’s a lot of great filmmaking in Novitiate, but there’s also quite a bit still missing.
    • 73 Metascore
    • 80 Bilge Ebiri
    (T)error
    For all of (T)error’s topicality and its thriller-like qualities, what makes the film is Sutcliffe and Cabral’s compact, complex portrait of Saeed — paranoid, chatty, mired in self-loathing, but also oddly reflective.
    • 73 Metascore
    • 70 Bilge Ebiri
    Final Destination: Bloodlines
    If we judge these films primarily by the creativity and elaborate absurdity of their death scenes, this latest entry ably expands the palette without messing with the formula.
    • 73 Metascore
    • 70 Bilge Ebiri
    Filmworker
    Perhaps if Kubrick himself wasn’t obsessed, if his films weren’t so thoroughly overwhelming in real life, then they wouldn’t have exploded in our minds the way they did. Filmworker is both a cautionary tale and a tribute to this kind of compulsion.
    • 73 Metascore
    • 70 Bilge Ebiri
    Queen of Katwe
    Nair's immersive, energetic style, combined with her talented cast's ability to invest even the most obvious lines with genuine feeling, gives Queen of Katwe a powerful clarity.
    • 73 Metascore
    • 70 Bilge Ebiri
    Werewolf
    Its story may be thin, its characters not particularly original, but McKenzie’s use of cinematic language is savvy and novel, finding complexity where others might find only emptiness.
    • 73 Metascore
    • 90 Bilge Ebiri
    The Fall Guy
    There are many elements that make The Fall Guy enormous fun, but what makes it genuinely artful is the way that Leitch and his team (including writer Drew Pearce and stunt coordinator Chris O’Hara) have conceived the film’s stunts as extensions of the characters.
    • 73 Metascore
    • 60 Bilge Ebiri
    Wicked
    Wicked is as enchanting as it is exhausting.
    • 73 Metascore
    • 80 Bilge Ebiri
    Jane Austen Wrecked My Life
    Agathe is concave in both posture and spirit, but she feels right for this muted world of amorous contemplation, of long, uncertain glances met by equally long, equally uncertain glances. By the end, romance in the abstract becomes something much more real — and we can’t help but fall for all these characters ourselves.
    • 73 Metascore
    • 80 Bilge Ebiri
    The Killing of a Sacred Deer
    As things spun out of control, getting ever stranger, I started to wonder if the director had merely written himself into a corner and was doubling down on weirdness to get himself out. And yet the film never quite loses its mythic drive. You walk out feeling like you’ve truly had an experience.
    • 73 Metascore
    • 70 Bilge Ebiri
    Wind River
    Sheridan’s feel for psychology and setting are in fine evidence here. Wind River’s landscapes are forbidding and beautiful.
    • 73 Metascore
    • 80 Bilge Ebiri
    Air
    Air might seem at first like a ridiculous idea for a movie, but it is in fact an ingenious one.
    • 73 Metascore
    • 60 Bilge Ebiri
    Sorry Angel
    Honoré’s scenes feel at once composed and curiously mundane, as if he’s trying to take the precision of his earlier work and mix it with a more realist impulse — or, if we’re being less charitable, as if he’s trying to will his aesthetic into something more “mature.”
    • 73 Metascore
    • 90 Bilge Ebiri
    Beyond the Lights
    Beyond the Lights is a deft, gorgeous movie. For all its honesty, it’s never slow, and for all its criticism of the music industry, it’s never finger-wagging.
    • 73 Metascore
    • 70 Bilge Ebiri
    Hoppers
    Hoppers is a fun, modest little movie with enough zip and charm to keep kids engaged, and as such, one doesn’t want to criticize it too much. But the memory of what Pixar once was, the behemoth that redefined animation for multiple generations, may still make us wonder where all that energy and originality and artistry went.
    • 49 Metascore
    • 70 Bilge Ebiri
    The Best Offer
    Part of the pleasure in watching The Best Offer is the elegant, unassumingly suspenseful way it unfolds. You never quite know where it’s all headed, in part because it never quite tells you what kind of movie it is. I called it a “romantic thriller,” but there’s a lot more movie here than that.
    • 51 Metascore
    • 40 Bilge Ebiri
    Live From New York!
    It’s too cursory, too frivolous to make a case for the show’s importance as an American institution, even though it insists on it.
    • 67 Metascore
    • 70 Bilge Ebiri
    Jay Kelly
    The movie has absorbed its actor’s vibe. It looks great, and it ambles along pleasantly, rarely veering too far into the dramatic or the emotional; moments of tension or insight are often defused with a laugh or some other odd narrative distraction. But by the end, it gets you anyway.
    • 73 Metascore
    • 60 Bilge Ebiri
    The Killer
    Filled with expertly composed sequences undone by the protagonist’s relentless observations about the meaninglessness of existence, the movie feels like an attempt to highlight its own emptiness.
    • 73 Metascore
    • 90 Bilge Ebiri
    Results
    With this cast, and such a vivid sense of play, Results manages, in its own subtle, unassuming way, to reinvent the rom-com. It’s enchanting.
    • 73 Metascore
    • 80 Bilge Ebiri
    Julieta
    While Almodóvar may move his characters around like a god (or at least a moralist), his attention to detail and his fondness for unexpected bits of tenderness give these people shape and dimension and keep the narrative from becoming schematic.
    • 73 Metascore
    • 100 Bilge Ebiri
    Ferrari
    Ferrari is elegant and restless, with a sense throughout that something horrific might be lurking around each corner. And when the director straps his cameras on those cars and sends them on their way, the picture transforms into something more visceral and chaotic, a fever dream (or maybe a nightmare) of speed and smoke.
    • 73 Metascore
    • 90 Bilge Ebiri
    News of the World
    It feels odd to see a Western in 2020 that actually dares to be a Western, especially coming from a director who for so long specialized in urgent, high-tech, ripped-from-the-headlines thrillers. But maybe that’s not so odd a combination. News of the World has the trappings of an old-fashioned epic, but it also has a restless, modern soul.
    • 73 Metascore
    • 90 Bilge Ebiri
    The Square
    Östlund is specific and exacting as a writer and director, and within The Square’s empty spaces, we’re forced to confront our own values, and our own visions of ourselves.
    • 28 Metascore
    • 40 Bilge Ebiri
    Rage
    The movie is imprisoned by its Cage’s stiffness. All he gives us is strained, robotic seriousness. I’m not sure he even gives us any rage.
    • 73 Metascore
    • 80 Bilge Ebiri
    The Club
    It’s occasionally beautiful, but just as often stomach-turning. You watch it at a remove, but still with a dull combination of pity and horror and regret. Maybe that’s the idea. For a brief, agonizing moment, you share the spiritual quicksand with these disgraced men.
    • 55 Metascore
    • 60 Bilge Ebiri
    Legend
    Hardy, it seems, is an ecosystem of love and hate and betrayal and madness unto himself. The rest of Legend just can’t keep up.
    • 73 Metascore
    • 80 Bilge Ebiri
    Megadoc
    Like the man who made it, Megalopolis is a movie that bears both the qualities and the scars of these conflicts. We probably didn’t need Megadoc to tell us this, but it remains a thoroughly fascinating look at one of the most unlikely films ever made.
    • 73 Metascore
    • 80 Bilge Ebiri
    The Devil's Bath
    The Devil’s Bath is a deeply fucked-up picture. I say that with admiration.
    • 73 Metascore
    • 90 Bilge Ebiri
    The Dig
    Death is intercut with passion, as tragedy and glory tangle onscreen. It’s as if the dig itself radiates out a new understanding of existence, revealing both the broad arc of history and the curlicues of love, loyalty, and loss that abound within it.
    • 73 Metascore
    • 100 Bilge Ebiri
    Athena
    Its subject is timely but its presentation is timeless — it’s a war movie, a family drama, a Greek tragedy.
    • 72 Metascore
    • 70 Bilge Ebiri
    Where Is Kyra?
    The way Dosunmu shoots her, she feels somehow both fragile and unchanging: It wouldn’t take much to turn Kyra herself into a blur, to erase her from the screen completely; but the broader sorrow that she represents will never go away. Where is Kyra? She’s in the midst of disappearing, but she’s also everywhere.
    • 72 Metascore
    • 80 Bilge Ebiri
    Zodiac Killer Project
    A work of criticism as well as a work of art, it’s a sharp takedown of our culture’s obsession with true crime, identifying and skewering the genre’s most familiar tropes even as it playfully indulges in them.
    • 72 Metascore
    • 70 Bilge Ebiri
    Juror #2
    Eastwood’s unhurried gaze allows the characters’ humanity to shine through. His style might be simpler, but his generosity as a filmmaker, his willingness to embrace the complex and the open-ended, has never been more evident. Juror No. 2 is a fine entry in a great director’s career.
    • 83 Metascore
    • 80 Bilge Ebiri
    Mandy
    The film’s two sides — the soft, textured reverie of its first half, and the surreal, angular savagery of its second — exist in perpetual balance; one would die without the other.
    • 72 Metascore
    • 60 Bilge Ebiri
    All the Money in the World
    It’s easy to appreciate the director’s eye even while being left mostly cold by everything else. It’s almost as if, in trying to make a film about the gilded prison of wealth, Ridley Scott has made one about the gilded prison of empty, beautiful images.
    • 72 Metascore
    • 80 Bilge Ebiri
    Union County
    We talk of fictional movies with documentary touches, but Union County sometimes feels like a documentary with some fictional touches.
    • 26 Metascore
    • 30 Bilge Ebiri
    No Good Deed
    It’s certainly not good. But it’s not entirely dire.
    • 72 Metascore
    • 70 Bilge Ebiri
    In Bloom
    In Bloom feels, more than anything else, like a war movie.
    • 72 Metascore
    • 50 Bilge Ebiri
    Happy End
    Haneke has delivered the Haneke film that Haneke-haters see in their heads when they think of a Haneke film: a series of disjointed, narratively oblique episodes showing people being inhumane to each other.
    • 72 Metascore
    • 70 Bilge Ebiri
    His House
    Horror is often cathartic, purifying — it puts you through the wringer but you emerge on the other side, somehow cleansed. You’ll find no such succor here. His House is beautifully made, and its scares are monstrously effective, but its images of real-world dread remain unresolved, its specters unvanquished. The film leaves you with wounds that won’t heal.
    • 69 Metascore
    • 80 Bilge Ebiri
    The Death of Dick Long
    The Death of Dick Long becomes a symphony of stupidity. I say “symphony” because it’s multivoiced and overpowering. That’s part of the movie’s charm, too: You can feel your brain melting away as you watch it, and that’s not always a bad sensation.
    • 72 Metascore
    • 80 Bilge Ebiri
    Bone Tomahawk
    Bone Tomahawk is terrifying and strange, to be sure, but it’s the old-fashioned veneer that makes it beautiful.
    • 72 Metascore
    • 70 Bilge Ebiri
    Let Them All Talk
    Let Them All Talk is a warm, enjoyable trifle, yet it has a personal edge that suggests an artist who continues to wrestle with the nature of his work.
    • 72 Metascore
    • 80 Bilge Ebiri
    Meeting Gorbachev
    Meeting Gorbachev is a hagiography, but it’s unafraid to position itself as such; Herzog makes his case proudly and passionately.
    • 72 Metascore
    • 80 Bilge Ebiri
    The Outrun
    The film is, first and foremost, a visual and sonic experience. We can lose ourselves in it. I think we’re meant to.
    • 72 Metascore
    • 80 Bilge Ebiri
    First They Killed My Father
    This is Jolie’s most accomplished work yet.
    • 72 Metascore
    • 70 Bilge Ebiri
    Being Evel
    “He’s probably the only man in history who has become famous for trying to kill himself,” says Johnny Carson as he introduces Knievel in a clip from The Tonight Show. As the film makes clear, Evel often bore out that tension in his acts, and it slowly, subtly ate away at him.
    • 72 Metascore
    • 100 Bilge Ebiri
    Only the Brave
    Only the Brave is a visually splendid, spellbinding, and surreal movie that also happens to be an emotionally shattering, over-the-top ugly-cry for the ages.
    • 72 Metascore
    • 60 Bilge Ebiri
    The Color Purple
    The Color Purple is not a particularly intimate or introspective musical; its numbers are big, very much meant to be sung to a big audience, maybe even to have the audience sing them back to the stage or the screen. For both movie and play, it feels as much like a trip to church as it is a trip to the theater.
    • 54 Metascore
    • 50 Bilge Ebiri
    The Signal
    You spend a lot of the movie confused, but the great big reveals of its finale don’t feel very shocking at all. Yet it’s not a complete wash and, given the circumstances, that feels like an accomplishment.
    • 72 Metascore
    • 80 Bilge Ebiri
    Dope
    Dope isn’t perfect — it’s got a couple too many endings, and it loses the romantic subplot for a distressingly long time. But it moves with amazing energy, the dialogue and soundtrack and imagery a constant stream of pop-culture references, in-jokes, and digressions.
    • 72 Metascore
    • 100 Bilge Ebiri
    Monkey Kingdom
    Fun, touching, and expertly assembled.
    • 72 Metascore
    • 80 Bilge Ebiri
    Bugonia
    By the time Bugonia is over, with a series of beautiful and haunting images that seem to come out of nowhere, we understand that beneath its bemused dispassion lies a deep longing for connection.
    • 72 Metascore
    • 80 Bilge Ebiri
    Master Z: Ip Man Legacy
    It’s unlikely to make new converts, but it’s filled with vibrant, graceful ass-kickery, and sometimes that’s all one wants, and needs.
    • 72 Metascore
    • 90 Bilge Ebiri
    Author: The JT LeRoy Story
    That Feuerzeig can navigate this hall of mirrors so cleanly and effectively is positively supernatural.
    • 72 Metascore
    • 90 Bilge Ebiri
    Who by Fire
    Clocking in at 155 minutes, Who by Fire is not short. But it captures the imprecise language and ungainly rhythms of reality so well that you lose sense of time.
    • 54 Metascore
    • 70 Bilge Ebiri
    Nutcrackers
    It feels like both a summary and a homecoming for this strangest and most American of directors.
    • 47 Metascore
    • 30 Bilge Ebiri
    AGGRO DR1FT
    Eventually, the oppressive sameness of everything becomes stultifying — which to me feels like a death blow for something so self-consciously experimental and wannabe visionary.
    • 72 Metascore
    • 80 Bilge Ebiri
    Dungeons & Dragons: Honor Among Thieves
    The film’s set pieces are built around comedy, with bits of (cleverly choreographed and directed) action and suspense to add some urgency, not the other way around.
    • 72 Metascore
    • 80 Bilge Ebiri
    El Conde
    Beneath all the genre theatrics, what comes through most vividly in El Conde are Larraín’s sadness and rage at what happened to his country.
    • 72 Metascore
    • 70 Bilge Ebiri
    Slow West
    If Slow West never quite settles on a tone to call its own, it does still offer many pleasures. Fassbender and Smit-McPhee are excellent — the boy's outward bewilderment and unpreparedness play off well against the cowboy’s ragged, stone-faced charisma.
    • 64 Metascore
    • 40 Bilge Ebiri
    Youth
    Though often beautiful, this is an emotionally paralyzed film about emotionally paralyzed people.
    • 40 Metascore
    • 70 Bilge Ebiri
    Insidious: Chapter 2
    Insidious: Chapter 2 may be somewhat uneven, but at a certain point near the end, I realized I hadn’t taken any notes during the second half. For all its weirdness, the film had utterly transported me. Bring on Chapter 3.
    • 72 Metascore
    • 60 Bilge Ebiri
    The Suicide Squad
    With its incessant profanity, ridiculous body count, and trollish sense of humor, Gunn’s film often seems content to exist in a constant state of rug-pulling. Lots of fun but little forward momentum.
    • 72 Metascore
    • 70 Bilge Ebiri
    The Day After
    The imaginative and compassionate leaps of Hong’s other recent films — which spin stories out of the wounded women in the filmmaker’s life — are nowhere to be found. Still, the candor is impressive, and the pain feels real. The Day After may not be a particularly great film, but it does feel like a necessary one.
    • 72 Metascore
    • 70 Bilge Ebiri
    When Marnie Was There
    When Marnie Was There may start off a bit awkwardly, but it'll have you bathing in your own tears by the time it's over.
    • 72 Metascore
    • 60 Bilge Ebiri
    Late Night with the Devil
    The cast makes Late Night With the Devil more than watchable, but they also raise our hopes for something better. While the talk-show approach makes perfect structural and narrative sense, it also drains the film of suspense, as we pretty much know where everything is going.
    • 72 Metascore
    • 70 Bilge Ebiri
    The Incredible Jessica James
    The Incredible Jessica James strikes me as little more than an extended sketch – somewhat formless and repetitive. But its saving grace is that, unlike a lot of sketch movies, it doesn’t rely on shtick or wink-wink contrivance.
    • 72 Metascore
    • 70 Bilge Ebiri
    Scales
    Saudi director Shahad Ameen’s mesmerizingly bleak fable Scales accomplishes something many films attempt but generally bungle: It tells a highly symbolic tale while conveying recognizable human emotions.
    • 72 Metascore
    • 50 Bilge Ebiri
    The Shrouds
    Cronenberg is transmitting to us from the borders of death, behind the enemy lines of inconsolable grief. And the man’s mind is still so alive that it seems churlish to ding this movie for being so — God, this isn’t the word I want to use, but I must — lifeless. Sadly, the inertia eventually gets to us.
    • 72 Metascore
    • 80 Bilge Ebiri
    The Batman
    Reeves loves these dead-end apocalyptic environments, and delights in tales that toy with the moral calculus of typical hero narratives. He has given us a Batman that he himself can believe in, not to mention a Batman that feels right for our times.
    • 53 Metascore
    • 60 Bilge Ebiri
    Earth to Echo
    Earth to Echo resonates, despite itself.
    • 71 Metascore
    • 90 Bilge Ebiri
    Tyrel
    The stranger Tyrel gets, the more accurate it feels. The ecosystem of behaviors and attitudes on display is so unnervingly sharp that some of us may well find ourselves wincing in recognition.
    • 71 Metascore
    • 80 Bilge Ebiri
    A Monster with a Thousand Heads
    Raluy, a Mexican TV and stage star making her movie debut, is captivating as a woman whose terror at her own behavior is matched only by her bewilderment at the system around her.... But the real star here is Plá, with his total control of the frame.
    • 71 Metascore
    • 70 Bilge Ebiri
    The Raid 2
    And yes, it’s all insanely, relentlessly gory. You could say (and some will) that the gratuitousness of the violence in The Raid 2 is a problem. But it all functions as part of the surreal dance of death.
    • 71 Metascore
    • 80 Bilge Ebiri
    Heretic
    Grant’s turn in Heretic is not just a great role that commands attention, it’s also a part that requires a dash of that Hugh Grant charm to pull off.
    • 71 Metascore
    • 80 Bilge Ebiri
    Pete's Dragon
    More than anything, this is a slice-of-life tale, whisper-thin but still full of feeling and a generous sense of place. With the world's most adorable dragon at the center of it all.
    • 71 Metascore
    • 40 Bilge Ebiri
    Spider-Man: No Way Home
    It’s not just the action and the magic that flop. Even the film’s more intimate moments fall flat.
    • 71 Metascore
    • 90 Bilge Ebiri
    Ralph Breaks the Internet
    Somewhere amid the film’s ornate imagery and deliriously irreverent humor, we might begin to realize that we’re watching a terrifying, incisive satire about the ways that a life lived online makes monsters of us all.
    • 71 Metascore
    • 70 Bilge Ebiri
    Memory
    Mexican director Michel Franco’s somber drama about the ghosts of the past has a lot on its mind, and not all of it makes sense. But its two leads are so good together, so weirdly right together, that everything slips away and you just watch them.
    • 71 Metascore
    • 90 Bilge Ebiri
    Wonderstruck
    There is so much packed in here; Wonderstruck is simultaneously the densest and loosest film Haynes has made. And, like many stories based on books for children, much of it makes more emotional than logical sense.
    • 71 Metascore
    • 70 Bilge Ebiri
    Hacksaw Ridge
    As a filmmaker, Gibson understands that there is something fundamentally irreconcilable about Doss’ love of peace, his abject and visceral revulsion at battle and a war movie’s embrace of violence. Somehow, the director has made a film that can contain that contradiction — that remains irreducible. He breaks his own movie, and somehow the movie is better for it.
    • 71 Metascore
    • 60 Bilge Ebiri
    Welcome to New York
    This is not the kind of material for a stately biopic or a political drama. This is nasty, strange business — perfect for Ferrara, whose work often hovers between art and exploitation, between angst and sleaze.
    • 71 Metascore
    • 100 Bilge Ebiri
    Brad's Status
    Brad’s Status remains grounded in reality — it’s gentle, human and unresolved. I loved it, but I don’t think I’ll ever be able to watch it again.
    • 61 Metascore
    • 40 Bilge Ebiri
    Onward
    This film feels like a pile of prefab story ideas occasionally enlivened by brief flashes of earnestness and invention.
    • 52 Metascore
    • 40 Bilge Ebiri
    The United States vs. Billie Holiday
    The United States vs. Billie Holiday (which is out now on Hulu) wants to be a history lesson, but it’s at times so one-note and inert that it loses any sense of authenticity.
    • 71 Metascore
    • 90 Bilge Ebiri
    A Quiet Place Part II
    Beyond the many jump scares involving aliens and the terrifically terrified-out-of-their-wits performances, what makes A Quiet Place Part II special is the sheer joy we get from feeling like we’re in the hands of a confident filmmaker.
    • 71 Metascore
    • 80 Bilge Ebiri
    Predator: Badlands
    Predator: Badlands is a charming surprise. He may surprise us yet again.
    • 71 Metascore
    • 60 Bilge Ebiri
    How to Train Your Dragon: The Hidden World
    Despite the visual splendor of this movie — the beautifully animated creatures and elegantly imagined settings — what will ultimately determine whether you respond to this final How to Train Your Dragon is how well you remember the earlier entries. For some, it’ll be a moving conclusion to an epic series. For others, it’ll be one less kids’ franchise to worry about.
    • 71 Metascore
    • 80 Bilge Ebiri
    The Caine Mutiny Court-Martial
    Even with its complicated moral vision, Wouk’s ending reoriented the story’s emotional focus; some might argue it clarified it. Friedkin’s ending leaves you unsure of what to think or feel. It sends you out questioning your beliefs — about war, about service, about madness, even about right and wrong. In that sense, despite the lack of ornament and the reduced scale, this Caine Mutiny Court-Martial is pure Friedkin.
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