For 169 reviews, this critic has graded:
  • 62% higher than the average critic
  • 2% same as the average critic
  • 36% lower than the average critic
On average, this critic grades 0.3 points higher than other critics. (0-100 point scale)

Bilge Ebiri's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 The LEGO Movie
Lowest review score: 10 Left Behind
Score distribution:
  1. Positive: 82 out of 169
  2. Negative: 16 out of 169
169 movie reviews
    • 83 Metascore
    • 100 Bilge Ebiri
    The LEGO Movie is the kind of animated free-for-all that comes around very rarely, if ever: A kids’ movie that matches shameless fun with razor-sharp wit, that offers up a spectacle of pure, freewheeling joy even as it tackles the thorniest of issues.
    • 89 Metascore
    • 100 Bilge Ebiri
    Magical and melancholy, The Tale of Princess Kaguya comes from the other mad genius of Studio Ghibli, Isao Takahata, who co-founded the beloved Japanese animation company alongside the great Hayao Miyazaki back in 1985.
    • 76 Metascore
    • 100 Bilge Ebiri
    One of the greatest documentaries I’ve ever seen.
    • 86 Metascore
    • 90 Bilge Ebiri
    The Great Beauty is a subtly daring cinematic high-wire act — an entire film built around one character’s unrealized, unspecified yearning. And it might just be the most unforgettable film of the year.
    • 82 Metascore
    • 90 Bilge Ebiri
    The mystery may be resolved, but the suspense and uncertainty remain. And so, Guiraudie ends his film on a cold, almost cruel note of existential solitude that just might, if you let it, break your heart.
    • 84 Metascore
    • 90 Bilge Ebiri
    This amazing, maddening film presents a series of extended, mostly static, terrifying tableaux of despair, poverty, and decay.
    • 73 Metascore
    • 90 Bilge Ebiri
    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.
    • 87 Metascore
    • 90 Bilge Ebiri
    A truly strange, wondrous beast. It has the playful humor and charm of a children’s movie, but its design is dark and unsettling.
    • 75 Metascore
    • 80 Bilge Ebiri
    Rush satisfies our lust for both grand character combat and deadly gearhead spectacle.
    • 74 Metascore
    • 80 Bilge Ebiri
    Frozen is one of the few recent films to capture that classic Disney spirit.
    • 76 Metascore
    • 80 Bilge Ebiri
    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.
    • 54 Metascore
    • 80 Bilge Ebiri
    This smallest of films marks a welcome return to the world of interpersonal miniature for the writer-director.
    • 68 Metascore
    • 80 Bilge Ebiri
    Chow is at his best when juggling disparate elements – tragedy, slapstick, romance, melancholy, fantasy. Everything is big with him; he seems incapable of underplaying anything. The crazier his movies, the better. And Journey to the West might be the craziest thing he’s done yet. You may wonder, afterwards, if you dreamt it all.
    • 86 Metascore
    • 80 Bilge Ebiri
    Ernest and Celestine is a modest, beautiful little children’s fable with a wise, grown-up heart.
    • 79 Metascore
    • 80 Bilge Ebiri
    They’re great stories, and it’s through them that Jodorowsky’s Dune shows us how the greatest movie never made, in its own crazy little way, somehow still came to be.
    • 86 Metascore
    • 80 Bilge Ebiri
    It’s the closest I’ve seen a film come to an act of genuine hypnosis.
    • 64 Metascore
    • 80 Bilge Ebiri
    Belle does have a clear moral compass, but it refuses easy answers and withholds easy judgments. As such, it feels profoundly human.
    • 76 Metascore
    • 80 Bilge Ebiri
    Jodorowsky’s fondness for the surreal and grotesque is in full evidence here. What makes his films so captivating, however, isn’t their strangeness, but their refusal to divide the world into good and bad, even when it’s easy to do so.
    • 64 Metascore
    • 80 Bilge Ebiri
    Byrkit’s film is very much its own thing. It’s an urbane dinner-party movie that turns into something magnificent, terrible, and strange – and yet it never quite stops being an urbane dinner-party movie, never lets up its tone of ironic refinement. Coherence is a gentle film, but you walk away from it with your brain on fire.
    • 57 Metascore
    • 80 Bilge Ebiri
    For all the limitations of its setting and palette, this is a gorgeous, visually exciting movie.
    • 50 Metascore
    • 80 Bilge Ebiri
    It's also breathtaking to watch a throwaway studio sequel break its corporate chains before your very eyes and become something thrilling and dangerous and alive.
    • 71 Metascore
    • 80 Bilge Ebiri
    Tate Taylor’s film cares less about narrative clarity and more about portraying a life lived between the extremes of sin and grace, between the abject and the sublime. It’s lively, stylized, and genuinely surprising.
    • 59 Metascore
    • 80 Bilge Ebiri
    In the end, What If belongs to Zoe Kazan. And both she and it are wonderful.
    • 75 Metascore
    • 80 Bilge Ebiri
    As playful as it is, Lenny Abrahamson’s film is mostly a surprisingly earnest story about the compromises and conflicts of art, stardom, and mental illness.
    • 83 Metascore
    • 80 Bilge Ebiri
    Certainly for any fan of Cave’s, 20,000 Days on Earth makes for a creative, enthralling journey through the man’s world.
    • 66 Metascore
    • 80 Bilge Ebiri
    With Jimi: All Is By My Side, writer-director John Ridley tries to do for the rock biopic what Jimi Hendrix did for rock 'n' roll itself in the 1960s — explode it, redefine it, and help it find its best self.
    • 67 Metascore
    • 80 Bilge Ebiri
    It’s a potentially grisly setup, but the actual movie makes death look downright fun.
    • 79 Metascore
    • 80 Bilge Ebiri
    The film is called Dear White People, but it might as well be called Dear Everybody. It’s hilarious, and just about everyone will wince with recognition at some point in the film.
    • 67 Metascore
    • 80 Bilge Ebiri
    John Wick is a violent, violent, violent film, but its artful splatter is miles away from the brutality of "Taken" or the gleeful gore of "The Equalizer." It’s a beautiful coffee-table action movie.
    • 72 Metascore
    • 80 Bilge Ebiri
    I’ve now seen Jean-Luc Godard’s latest film twice, and I think I might be one more viewing away from finally being able to say what the hell it’s about. That sounds like a condemnation, but a film you need to see again should be a film you want to see again, and the oblique beauty of Goodbye to Language, shot in 3-D, has a tractor-beam-like pull.
    • 82 Metascore
    • 80 Bilge Ebiri
    Gabe Polsky's ingenious, touching documentary Red Army looks at the other side of this myth, the seemingly faceless, allegedly robotic players who made up the Soviet team. There, Polsky finds a story even more epic and powerful than the Miracle on Ice.
    • 80 Metascore
    • 80 Bilge Ebiri
    It’s wonderfully inventive filmmaking: Amirpour’s striking compositions borrow from the iconography of both the Western and the horror film — wide, evocative vistas are intercut with dark, tense city streets where shadowy figures follow one another.
    • 60 Metascore
    • 80 Bilge Ebiri
    Romantic comedies involving people moving on after divorce are a dime a dozen, but rarely are they as generous, sharply observed, and humane as Angus MacLachlan’s Goodbye to All That.
    • 91 Metascore
    • 80 Bilge Ebiri
    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.
    • 40 Metascore
    • 70 Bilge Ebiri
    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.
    • 48 Metascore
    • 70 Bilge Ebiri
    Jayne Mansfield’s Car isn’t likely to set America’s theaters on fire, but it’s a powerful whisper of a film.
    • 59 Metascore
    • 70 Bilge Ebiri
    While it was often all over the place, it worked, because directors Phil Lord and Chris Miller ladled out the chaos with such charm.
    • 49 Metascore
    • 70 Bilge Ebiri
    Here are two action stars having fun; watching them work together as a team is a lot more entertaining than you might have expected. Try not to think too hard about it, and Escape Plan is stupid, stupid fun.
    • 48 Metascore
    • 70 Bilge Ebiri
    It shows us things — obscene and hilarious, yes, but also just as often harrowing and unforgettable — we never thought we’d see. It’s ridiculous, but it has a ragged nobility all its own.
    • 54 Metascore
    • 70 Bilge Ebiri
    For all the fecal matter flying around, and all the dick jokes, Bad Grandpa turns out to be an act of redemption: It’s the anti-Borat. And for all its flaws, it might just be the most heartwarming movie of the year.
    • 52 Metascore
    • 70 Bilge Ebiri
    It’s the kind of solid, small-scale, entertaining action flick we probably need more of these days.
    • 59 Metascore
    • 70 Bilge Ebiri
    The Best Man Holiday is an inelegant movie, but its cast is so damn likable that we’re still willing to follow them — even when they’re not going anywhere.
    • 69 Metascore
    • 70 Bilge Ebiri
    White Reindeer is a deliberately awkward little movie, and it’s a hard one to shake.
    • 55 Metascore
    • 70 Bilge Ebiri
    The film’s brooding tension would probably work even without the recent tragedy of real-life events. But now, while uneven, the film is uniquely involving — right down to a final shot that will break your heart into a million pieces.
    • 49 Metascore
    • 70 Bilge Ebiri
    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.
    • 72 Metascore
    • 70 Bilge Ebiri
    In Bloom feels, more than anything else, like a war movie.
    • 37 Metascore
    • 70 Bilge Ebiri
    A delightfully goofy slapstick cartoon with a surprisingly dark heart.
    • 63 Metascore
    • 70 Bilge Ebiri
    All joking aside, this is a director who is incapable of creating something that’s not beautiful. He can, however, on occasion indulge in a little too much cliché.
    • 62 Metascore
    • 70 Bilge Ebiri
    As an honest look into relationships, it's a bust. As a straight-up comedy, though, it’s hilarious.
    • 39 Metascore
    • 70 Bilge Ebiri
    More fun than any civilization’s fiery extinction should ever be, Paul W.S. Anderson’s Pompeii 3-D is gloriously exciting kitsch – a poor man’s "Titanic" crossed with an even poorer man’s "Gladiator."
    • 59 Metascore
    • 70 Bilge Ebiri
    Mr. Peabody & Sherman is slight, but it’s exceedingly charming, making good use of a talented voice cast.
    • 63 Metascore
    • 70 Bilge Ebiri
    For all their fuck-ups, we never question why these two characters are still together. In these actors’ hands, ably guided by a director who deserves to be better known, this minor little crime caper becomes a very human romantic drama.
    • 71 Metascore
    • 70 Bilge Ebiri
    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.
    • 52 Metascore
    • 70 Bilge Ebiri
    Cuban Fury has a surprising amount of fun with these acknowledged clichés. At times, the movie has the energy of an "Anchorman"-style spoof — a hilarious late-movie dance-off between Bruce and Drew takes on absurdist overtones, as they dance on car roofs and do increasingly impossible moves.
    • 68 Metascore
    • 70 Bilge Ebiri
    That very unknowability, which hampered so many Efron performances in the past, turns out to be his most humanizing trait, and Neighbors’ secret weapon.
    • 68 Metascore
    • 70 Bilge Ebiri
    A comfort movie about comfort food, Chef won’t knock your socks off, but it believes in itself — and for Favreau, that’s all that matters.
    • 56 Metascore
    • 70 Bilge Ebiri
    Million Dollar Arm is cute, cloying, simplistic, borderline offensive … and thoroughly effective.
    • 64 Metascore
    • 70 Bilge Ebiri
    Chinese Puzzle isn’t much of a story, but in leaning into and embracing its complications Klapisch is able to isolate little instances — exchanges, glances, fragments from which he can mine profundity. That may feel like a cheat, but it isn’t, because this is a world where the moment conquers all.
    • 66 Metascore
    • 70 Bilge Ebiri
    Van Warmerdam has a way with images that are both playful and horrific, and you may find yourself chuckling at Borgman as much as you recoil at it. It’s destined for cult status.
    • 76 Metascore
    • 70 Bilge Ebiri
    Dragon 2 is at its best when it quiets down and dares to be intimate.
    • 60 Metascore
    • 70 Bilge Ebiri
    Taking pretty much every rom-com trope and distilling it into highly concentrated ridiculousness, Wain’s film is both a takedown and a tribute: As with his summer-camp-movie spoof "Wet Hot American Summer," you walk away with a renewed love for the genre.
    • 76 Metascore
    • 70 Bilge Ebiri
    The film seems content to be the class clown of the Marvel Universe, which is all well and good. But like most class clowns, sometimes you wish it would apply itself — because it seems capable of being so much more.
    • 58 Metascore
    • 70 Bilge Ebiri
    Perhaps the film’s most telling part comes during the deep dives themselves. When Cameron finds himself alone in his submersible, crammed into a little turret from which he can watch and film the world around him, the bravado fades away, and he becomes a little kid again.
    • 86 Metascore
    • 70 Bilge Ebiri
    What Now? Remind Me is all over the place, but it never feels messy or lax.
    • 66 Metascore
    • 70 Bilge Ebiri
    For all its stridency, Dinosaur 13 isn’t looking to mobilize us or get us to think hard about these issues. It just wants to tell its wild, one-of-a-kind tale in the most engaging way possible, and it does that exceptionally well.
    • 66 Metascore
    • 70 Bilge Ebiri
    The kind of documentary that’s smart enough to step back and let its charming subject take over. It won’t break new ground, but it’s not lazy or generic.
    • 58 Metascore
    • 70 Bilge Ebiri
    It’s an inviting, approachable world that Murdoch creates for us — still a total fantasy, of course, but one with a veneer of plausibility. Get on its wavelength, and you’ll be utterly charmed. Don’t, and you’ll run screaming from the theater.
    • 58 Metascore
    • 70 Bilge Ebiri
    A well-crafted family flick that gets the job done, then gets out of the way.
    • 76 Metascore
    • 70 Bilge Ebiri
    Wingard is also clearly enamored of the synthesized soundtracks of Giallo and John Carpenter films, and here, he turns that into a whole thing, too: A mix Anna makes for David becomes a plot point, giving the director an excuse to practically drench his scenes in dreamy electronica.
    • 56 Metascore
    • 70 Bilge Ebiri
    The Maze Runner only answers some of the questions it so marvelously sets up. And while I probably now know too much about the story for it to work a similar magic next time, I find myself genuinely anticipating the next one.
    • 50 Metascore
    • 70 Bilge Ebiri
    It starts off as a mess, yes, but eventually finds itself in a very poignant place. Even a lesser Terry Gilliam film is usually more engaging and invigorating than most of the other movies out there.
    • 40 Metascore
    • 70 Bilge Ebiri
    Dracula Untold is a dumb, lowest-common-denominator kind of movie, but it’s a surprisingly entertaining one. It’s brisk, which counts for a lot in this overbaked genre. The action is directed with verve and imagination — and it’s all gorgeously bleak, with black clouds of bats whipping around remote, craggy castles beneath portentous Carpathian skies.
    • 54 Metascore
    • 70 Bilge Ebiri
    It’s funny, fast, and charming.
    • 38 Metascore
    • 70 Bilge Ebiri
    Ouija is confident, meat-and-potatoes horror, and that’s a lot harder to pull off than it sounds.
    • 63 Metascore
    • 70 Bilge Ebiri
    We basically know where Laggies is headed; the film is a soft, straight, easy pitch down the middle, story-wise. And it’s a light movie: You won’t get a particularly profound look at adults who act like kids from it.
    • 74 Metascore
    • 70 Bilge Ebiri
    Therein lies part of the dissonance with this often-wonderful, deceptively strange movie. You could get emotional whiplash watching it.
    • 68 Metascore
    • 70 Bilge Ebiri
    For much of its running time, The Homesman doesn’t quite seem to know where it’s going. But once it actually gets there, it attains a hardscrabble nobility.
    • 53 Metascore
    • 70 Bilge Ebiri
    All Penguins of Madagascar wants to do is make you laugh at its silliness. It succeeds.
    • 52 Metascore
    • 70 Bilge Ebiri
    As uneven as Ridley Scott’s career; at times, it seems to be a journey through the director’s greatest strengths and weaknesses. The good news is that his strengths eventually win out; the bad news is all the awkward storytelling and botched character interactions we have to wade through to get to the good stuff. Once we do, though, Exodus is a hoot.
    • 84 Metascore
    • 70 Bilge Ebiri
    It may not always succeed, but the lovely, perplexing Winter Sleep is a very personal film from one of the world’s foremost filmmakers. It’s well worth your time.
    • 47 Metascore
    • 70 Bilge Ebiri
    Playing Teddy Roosevelt in these films was nowhere near a highpoint for Williams, but it did speak to his fondness for these CGI-infused kids’ spectacles. His final farewell here is gentle, reflectively and almost unbearably moving. It lends the the film a retroactive grace.
    • 56 Metascore
    • 70 Bilge Ebiri
    Wahlberg grows into the part. He may not be right as a precocious, self-loathing intellectual, but he's very much at home playing a dickhead who's gotten in too deep. And as The Gambler becomes less about its protagonist’s dashed intellectualism and more about the gathering danger of his predicament, the film gains power.
    • 50 Metascore
    • 60 Bilge Ebiri
    A.C.O.D. is reasonably pleasant and therapeutic and antiseptic and you just wish somebody would bring a chandelier down on somebody else at some point.
    • 48 Metascore
    • 60 Bilge Ebiri
    It doesn’t always work as drama, but as a musical, it’s often fantastic.
    • 66 Metascore
    • 60 Bilge Ebiri
    Much of the bloat is still there, but The Desolation of Smaug, the second film in the Hobbit trilogy, is a real improvement – filled with inventive action set pieces and dramatic face-offs that we (finally, at long last, hallelujah!) care about.
    • 57 Metascore
    • 60 Bilge Ebiri
    The film itself is uneven, but it’s kind of awesome seeing Bateman act so vile.
    • 61 Metascore
    • 60 Bilge Ebiri
    It's not bad, exactly; the songs are catchy, the cameos are okay, and some of the jokes work fine. Set your expectations super-low, and you'll probably be fine.
    • 41 Metascore
    • 60 Bilge Ebiri
    For Sabotage, as good as it is in its first half, can’t keep it together.
    • 55 Metascore
    • 60 Bilge Ebiri
    Dom Hemingway is an uneven movie, to be sure — plot holes abound, and some of the aforementioned clichés can be distracting — but it’s still hard to resist. Because rarely have an actor and a part been so perfect for each other, and Shepard lets his lead run wild with this offbeat, contradictory character.
    • 53 Metascore
    • 60 Bilge Ebiri
    Earth to Echo resonates, despite itself.
    • 54 Metascore
    • 60 Bilge Ebiri
    It has an energy all its own, and Gondry’s voice is always welcome, and essential. Mood Indigo is somehow both unmissable and whisper-thin.
    • 47 Metascore
    • 60 Bilge Ebiri
    Hercules has no right to be as entertaining as it is.
    • 55 Metascore
    • 60 Bilge Ebiri
    Ultimately, what comes through most forcefully in The Hundred-Foot Journey is the longing of the immigrant, the overwhelming push-pull between the need to belong and the need to assert one’s own identity.
    • 45 Metascore
    • 60 Bilge Ebiri
    The fifth entry in the popular dance-off franchise is, like the others, a fantasia that upends the usual rules of filmmaking. Here, the more threadbare the scenario, and the more unmotivated an action, the better. Character and story just get in the way of all the awesome dancing.
    • 38 Metascore
    • 60 Bilge Ebiri
    Appropriately pulpy — fuss-free and fast.
    • 60 Metascore
    • 60 Bilge Ebiri
    If Life of Crime transcends its lightheartedness to actually make us care for what happens to its characters, it doesn’t quite transcend its own haphazard, impoverished story.
    • 64 Metascore
    • 60 Bilge Ebiri
    The destination is often familiar and not always particularly interesting, but the ride itself isn’t always so bad, especially when you’ve got Bill Murray along for company.
    • 54 Metascore
    • 60 Bilge Ebiri
    Watching Ali and Cole (and, of course, Stewart and Maadi), we find ourselves wishing that they would genuinely get the chance to better understand each other. Do they, by the end? We’re not sure. On that score, Camp X-Ray remains admirably open-ended.
    • 49 Metascore
    • 60 Bilge Ebiri
    Evocative, gorgeous, occasionally maddening film.
    • 46 Metascore
    • 60 Bilge Ebiri
    There aren’t too many ingenious new concepts in today’s horror and fantasy films, but I’ll be damned if Horns doesn’t come close, at least at first.

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