For 135 reviews, this critic has graded:
  • 60% higher than the average critic
  • 2% same as the average critic
  • 38% lower than the average critic
On average, this critic grades 1.4 points lower than other critics. (0-100 point scale)

Bilge Ebiri's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 The LEGO Movie
Lowest review score: 10 Tyler Perry's A Madea Christmas
Score distribution:
  1. Positive: 59 out of 135
  2. Negative: 13 out of 135
135 movie reviews
    • 86 Metascore
    • 80 Bilge Ebiri
    It’s the closest I’ve seen a film come to an act of genuine hypnosis.
    • 86 Metascore
    • 70 Bilge Ebiri
    What Now? Remind Me is all over the place, but it never feels messy or lax.
    • 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.
    • 86 Metascore
    • 80 Bilge Ebiri
    Ernest and Celestine is a modest, beautiful little children’s fable with a wise, grown-up heart.
    • 84 Metascore
    • 90 Bilge Ebiri
    This amazing, maddening film presents a series of extended, mostly static, terrifying tableaux of despair, poverty, and decay.
    • 82 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.
    • 82 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.
    • 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.
    • 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.
    • 77 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.
    • 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.
    • 76 Metascore
    • 70 Bilge Ebiri
    Dragon 2 is at its best when it quiets down and dares to be intimate.
    • 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.
    • 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.
    • 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.
    • 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.
    • 72 Metascore
    • 70 Bilge Ebiri
    In Bloom feels, more than anything else, like a war movie.
    • 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.
    • 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.
    • 69 Metascore
    • 70 Bilge Ebiri
    White Reindeer is a deliberately awkward little movie, and it’s a hard one to shake.
    • 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.
    • 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.
    • 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.
    • 67 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.
    • 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.
    • 66 Metascore
    • 50 Bilge Ebiri
    Alan Partridge awkwardly tries to wed the episodic spirit of the character with the feature-length demands of a theatrical experience. The result is a mess, but it’s got some choice bits. Even if you forget the film itself, you might find yourself quoting parts of it for years.
    • 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
    • 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.
    • 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.