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 point 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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    • 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.
    • 82 Metascore
    • 80 Bilge Ebiri
    The Last Black Man in San Francisco
    This is a film of shifting moods and occasionally contradictory narratives. It’s as much about delusion as it is about gentrification, and as much about friendship as it is about solitude.
    • 75 Metascore
    • 80 Bilge Ebiri
    Origin
    Origin has instances of raw domestic melodrama, but the emotions are so sincere that it’s hard not to be moved by it all. The film’s depiction of moments out of history is similarly textured.
    • 67 Metascore
    • 80 Bilge Ebiri
    Mr. Holmes
    Sherlock Holmes is totally cool again, which warms my dorky heart.
    • 92 Metascore
    • 80 Bilge Ebiri
    Leviathan
    As the spiritual subtext took over, I couldn’t help but feel that something essential had been lost. The state overwhelms the individual; so, too, by the end, does this beautiful, strange movie.
    • 55 Metascore
    • 80 Bilge Ebiri
    Song to Song
    Connect with the kineticism of Song to Song, and it might just leave you breathless.
    • 77 Metascore
    • 80 Bilge Ebiri
    Thelma
    Its observations about the disconnect between its elderly protagonist and the society around her are surprisingly relatable.
    • 76 Metascore
    • 80 Bilge Ebiri
    Dheepan
    Ultimately, Dheepan is the story of three people struggling to maintain their humanity, even as they lose their identities.
    • 76 Metascore
    • 80 Bilge Ebiri
    Filipiñana
    Through heightened control of imagery and mood, attention to composition and texture and sound, Manuel turns this simple, languid setting into something far more sinister without ever betraying the beauty of what’s onscreen.
    • 65 Metascore
    • 80 Bilge Ebiri
    The First Omen
    Like the best studio horror directors, Stevenson understands that we’re not here for logic. The First Omen is soaked in style and mood with images that are both textured and shocking and that tap into tantalizingly visceral fears.
    • 60 Metascore
    • 80 Bilge Ebiri
    Saturday Night
    Saturday Night might not be factually accurate, but it feels spiritually true.
    • 82 Metascore
    • 80 Bilge Ebiri
    Angels Are Made of Light
    The director finds beauty everywhere — in a cloud of dust, a traffic jam, the raucous din of children at play. And wherever such beauty exists, we imagine, hope can never be entirely absent.
    • 79 Metascore
    • 80 Bilge Ebiri
    Sing Street
    Sing Street is far more boisterous and certainly funnier than Once, but it remains in a minor key; “finding happiness in sadness,” is how one character puts it.
    • 86 Metascore
    • 80 Bilge Ebiri
    Anatomy of a Fall
    It’s not hard to see why Triet’s picture resonates. It has both suspense and intellectual ambition; plot revelations don’t just send the story in new directions, they expand the film’s cultural scope.
    • 70 Metascore
    • 80 Bilge Ebiri
    The Weight
    McKinley establishes just the right amount of physical and emotional stakes, and a cast led by Ethan Hawke infuses the drama with believable camaraderie, conflict, and tension. It’s the kind of atmospheric, exciting period drama we don’t really get much anymore.
    • 60 Metascore
    • 80 Bilge Ebiri
    The Whale
    Once everything finally collides in The Whale, something shattering and beautiful and honest emerges.
    • 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.
    • 84 Metascore
    • 80 Bilge Ebiri
    Weiner
    Weiner is about as entertaining as a film about someone destroying a life and career can be. You can't turn away from the car wreck, and Weiner himself can't stop commenting on it.
    • 85 Metascore
    • 80 Bilge Ebiri
    The Delinquents
    The Delinquents works its magic on us the way that the promise of freedom works on its characters. It’s a vision of a life unlived — as impossible as it is intoxicating.
    • 67 Metascore
    • 80 Bilge Ebiri
    The Book of Life
    It’s a potentially grisly setup, but the actual movie makes death look downright fun.
    • 83 Metascore
    • 80 Bilge Ebiri
    Between the Temples
    It’s easy to predict what will happen narratively in Between the Temples, but it’s not nearly as easy to predict what these characters will actually do, what they’ll say and how they’ll act.
    • 73 Metascore
    • 80 Bilge Ebiri
    Val
    Val is not a gloomy movie at all. Quite the opposite. It’s vibrant, quick, and alive, and Val Kilmer today makes for an entertaining guide, with his hammy facial gestures now doing double duty since he can’t talk.
    • 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.
    • 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.
    • 69 Metascore
    • 80 Bilge Ebiri
    The Dry
    The Dry is a beautiful thriller that leaves us not with explanations, but with overwhelming sadness.
    • 34 Metascore
    • 80 Bilge Ebiri
    Vacation
    Vacation is lazy, idiotic, and gross — and I laughed my ass off at it.
    • 83 Metascore
    • 80 Bilge Ebiri
    '71
    Whenever the film focuses on Gary, it’s O’Connell’s show. And the actor’s ability to quietly express a whole range of emotions with his body language and his eyes, is staggering — especially since, for much of the film, he’s limping and covered in blood.
    • 75 Metascore
    • 80 Bilge Ebiri
    Lambert & Stamp
    It’s great not just because we’re eavesdropping on two rock survivors, but also because we’re seeing, in these living legends, the handiwork of the two unsung men to whom this film pays tribute.
    • 67 Metascore
    • 80 Bilge Ebiri
    Nancy
    I’d urge any viewer to look closely at the lead actress. The emotional journey of the story— and it’s a fairly dramatic one — comes alive and gathers force through her expressions. She is the movie.
    • 76 Metascore
    • 80 Bilge Ebiri
    Tim's Vermeer
    Tim’s Vermeer starts off in a playful fashion, but as he soldiers on, our intrepid, mild-mannered technologist finds himself getting emotional. In the presence of art, something happens. By the time it’s over, don’t be surprised if you’re more in awe of the work of an artist than ever before. Maybe this is Penn and Teller’s final, subtle rug-pulling moment: An attempt to demystify the artistic process ends up posing even greater mysteries.
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