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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    • 79 Metascore
    • 90 Bilge Ebiri
    Loving
    Loving downplays the historical significance of its subject in favor of a quiet humanity.
    • 78 Metascore
    • 90 Bilge Ebiri
    Kajillionaire
    July takes these weird, desperate characters and gives their lives a couple of cosmic twists that serve both to clarify her vision and to expand it. This might be her best film yet.
    • 82 Metascore
    • 90 Bilge Ebiri
    The Stranger
    The Stranger, it turns out, is a story for our times, which makes this lovely new version doubly welcome.
    • 81 Metascore
    • 90 Bilge Ebiri
    Benediction
    To call Benediction a biopic would be giving biopics a bit too much credit. They don’t deserve Benediction.
    • 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.
    • 60 Metascore
    • 90 Bilge Ebiri
    Three Thousand Years of Longing
    Three Thousand Years of Longing is indeed a cautionary tale, but it’s a complex, beautiful one, suggesting that love, longing, and loss are all parts of a vast, wondrous life.
    • 81 Metascore
    • 90 Bilge Ebiri
    The Night of the 12th
    Its real-world mysteries eventually become existential ones, but the film never stops sending chills up your spine.
    • 93 Metascore
    • 90 Bilge Ebiri
    All We Imagine as Light
    Through her mesmerizing filmmaking, Kapadia creates a world that didn’t seem possible — which, of course, reinforces how imaginary this new place might prove to be. The film may end on notes of joy, but what lingers is more sadness.
    • 81 Metascore
    • 90 Bilge Ebiri
    28 Years Later: The Bone Temple
    The beauty of DaCosta’s film is that these particular ideas are worked in subtly, even though The Bone Temple itself is not what one might call subtle. In fact, it’s downright looney tunes.
    • 84 Metascore
    • 90 Bilge Ebiri
    Eephus
    Slowly but surely, you settle into its gentle rhythms, and before you know it, it feels like an entire lifetime has passed by.
    • 69 Metascore
    • 90 Bilge Ebiri
    La Grazia
    The unknowability of life is beautiful, but so too is our desire to know. To be human, La Grazia seems to say, is to fight and lose against uncertainty, and then to fight and lose some more.
    • 83 Metascore
    • 90 Bilge Ebiri
    Mustang
    Mustang breathes new life into the old trope by reconnecting it with the elemental horror that drives it. These aren’t just body snatchers; they take your soul, too.
    • 83 Metascore
    • 90 Bilge Ebiri
    Evil Does Not Exist
    In its own discreet, modest way, Evil Does Not Exist leaves us with a haunting sense of personal and ecological apocalypse.
    • 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.
    • 82 Metascore
    • 90 Bilge Ebiri
    The Climb
    The scene that kicks off The Climb is by far the best thing in the entire movie, but don’t hold that against the picture — the rest of it is pretty great, too.
    • 92 Metascore
    • 90 Bilge Ebiri
    The Zone of Interest
    In its own sly and subtly devastating way, The Zone of Interest pulls us into its circle of evil.
    • 79 Metascore
    • 90 Bilge Ebiri
    Monster
    By cutting things up and showing us the perils of fractured perspectives, the director, one of cinema’s great humanists, demonstrates that compassion is more than just a natural state of being; it’s a process that requires constant expansion of one’s field of vision.
    • 74 Metascore
    • 90 Bilge Ebiri
    Sand Storm
    Ultimately, this is a tale of a mother and daughter trapped in a cycle of yearning and despair. It’s a lovely, deeply affecting film.
    • 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.
    • 89 Metascore
    • 90 Bilge Ebiri
    Dead Souls
    Despite its intense running time and disturbing subject matter, Dead Souls does not seek a complete accounting. In fact, it’s partly about the inability to convey the full horror of these experiences.
    • 49 Metascore
    • 90 Bilge Ebiri
    Bullet Train
    Bullet Train feels like someone crossbred Kill Bill with a Final Destination movie. And at times, David Leitch’s film is almost as glorious as that description makes it sound — elaborate and ridiculous but dedicated to making the elaborate and the ridiculous feel … well, not plausible, exactly, but certainly compelling and fun.
    • 69 Metascore
    • 90 Bilge Ebiri
    The Birth of a Nation
    It's a beautiful, reflective film even as it is also a brutal, visceral one.
    • 74 Metascore
    • 90 Bilge Ebiri
    Thelma
    Yes, Thelma is a horror movie — a lovely, transfixing one — but don’t look to it for cheap scares. The terror here cuts far deeper.
    • 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.
    • 63 Metascore
    • 90 Bilge Ebiri
    Knock at the Cabin
    The result is the most exhilarating and wounding film M. Night Shyamalan has made in many, many years.
    • 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.
    • 77 Metascore
    • 90 Bilge Ebiri
    Presence
    Presence isn’t afraid to be narratively predictable, because it’s out there visually. It’s an art film that also works as a spellbinding horror film, and it might be the best thing Soderbergh has done in ages.
    • 65 Metascore
    • 90 Bilge Ebiri
    Last Breath
    It feels like a great throwback thriller, one of those movies viewers will still be discovering years from now. Try to see it on a big screen while you can.
    • 89 Metascore
    • 90 Bilge Ebiri
    Gunda
    Viktor Kossakovsky’s mesmerizing documentary Gunda still serves as a bracing corrective to the way animals are usually portrayed on film. Its earthy radiance reminds us of what we’ve been missing in our need to see ourselves in these creatures, instead of seeing them as themselves.
    • 65 Metascore
    • 90 Bilge Ebiri
    American Made
    American Made is his first effort in a long while that feels like an honest-to-god Tom Cruise movie; suddenly, his smile means something again. But there’s one huge, beautiful catch: Doug Liman’s electric film is clear-eyed about the cynicism and corruption beneath its hero’s anxious grin. It voraciously breaks down both the star and the country he has symbolized for so much of his career.
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