For 713 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 higher than other critics. (0-100 point scale)

Bilge Ebiri's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Amazing Grace
Lowest review score: 0 Dolittle
Score distribution:
  1. Negative: 68 out of 713
713 movie reviews
    • 54 Metascore
    • 70 Bilge Ebiri
    It’s funny, fast, and charming.
    • 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.
    • 38 Metascore
    • 40 Bilge Ebiri
    The real problem is that the film doesn't know what to do with its depiction of life in the interconnected age. It’s a nothing movie.
    • 37 Metascore
    • 20 Bilge Ebiri
    Familiarity is not always a bad thing, though. "The Conjuring" breathed new life into old clichés; it showed that those creaking doors and possessed closets and white-robed figures still had the power to scare us. But that was a movie made with sensitivity and purpose. The blunt, lifeless Annabelle, on the other hand, sucks that life right back out.
    • 12 Metascore
    • 10 Bilge Ebiri
    Left Behind is biblical in its silliness.
    • 66 Metascore
    • 50 Bilge Ebiri
    It’s a case of diminishing returns: gorgeous, occasionally evocative, but, in the end, mostly dull.
    • 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.
    • 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.
    • 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.
    • 55 Metascore
    • 50 Bilge Ebiri
    Tusk is not a particularly good movie, but the vivid anxiety dream at its heart makes it one of the most personal films this writer-director has ever made.
    • 57 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.
    • 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.
    • 84 Metascore
    • 90 Bilge Ebiri
    This amazing, maddening film presents a series of extended, mostly static, terrifying tableaux of despair, poverty, and decay.
    • 58 Metascore
    • 70 Bilge Ebiri
    A well-crafted family flick that gets the job done, then gets out of the way.
    • 26 Metascore
    • 30 Bilge Ebiri
    It’s certainly not good. But it’s not entirely dire.
    • 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.
    • 25 Metascore
    • 40 Bilge Ebiri
    It's stocked with clichés, but they're arranged in such weird ways that the end result is both predictable and certifiable. If only any of it actually went somewhere.
    • 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.
    • 38 Metascore
    • 40 Bilge Ebiri
    There are moments of welcome tension amid the inchoate lunacy, but these in turn merely highlight why the rest of the film doesn’t work.
    • 38 Metascore
    • 60 Bilge Ebiri
    Appropriately pulpy — fuss-free and fast.
    • 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.
    • 41 Metascore
    • 50 Bilge Ebiri
    The real-life story behind When the Game Stands Tall sounds amazing. But for all its exciting sports scenes, the movie version falls flat as drama.
    • 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.
    • 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.
    • 35 Metascore
    • 30 Bilge Ebiri
    A sad, bad, parade of uninspired cameos and listless violence.
    • 47 Metascore
    • 50 Bilge Ebiri
    You wind up with a movie that plays like a low-rent "Logan’s Run" crossed with a UNICEF commercial.
    • 30 Metascore
    • 50 Bilge Ebiri
    Let’s Be Cops has its moments, but it in no way distinguishes itself.
    • 86 Metascore
    • 70 Bilge Ebiri
    What Now? Remind Me is all over the place, but it never feels messy or lax.
    • 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.
    • 59 Metascore
    • 80 Bilge Ebiri
    In the end, What If belongs to Zoe Kazan. And both she and it are wonderful.
    • 44 Metascore
    • 40 Bilge Ebiri
    Into the Storm is at once one of the dumbest films you'll see this year and one of the scariest.
    • 31 Metascore
    • 40 Bilge Ebiri
    Largely indistinguishable from any number of bloated superhero spectacles that have already graced our screens. Your kids may not mind it, but it’s more insistent than it is fun.
    • 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.
    • 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.
    • 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.
    • 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.
    • 35 Metascore
    • 50 Bilge Ebiri
    The film never quite reconciles the banality of this love triangle with its far more interesting depiction of the rest of these characters’ lives.
    • 47 Metascore
    • 60 Bilge Ebiri
    Hercules has no right to be as entertaining as it is.
    • 38 Metascore
    • 50 Bilge Ebiri
    Clean, pleasant, and thoroughly unremarkable. It passes the time, but with that cast and that director, it should have been so much more.
    • 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.
    • 48 Metascore
    • 50 Bilge Ebiri
    The sequel, Planes: Fire and Rescue, is still a DisneyToon production, but it does aim higher, with a visual zip that was lacking from the first. It is, in almost all respects, a better movie. It’s still not particularly good, though.
    • 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.
    • 43 Metascore
    • 40 Bilge Ebiri
    Wish I Was Here, not unlike its predecessor "Garden State," captures a certain generational drift. It just doesn’t know what to do with it. So it beats the damned thing into the ground until it’s dead.
    • 28 Metascore
    • 40 Bilge Ebiri
    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.
    • 57 Metascore
    • 80 Bilge Ebiri
    For all the limitations of its setting and palette, this is a gorgeous, visually exciting movie.
    • 53 Metascore
    • 60 Bilge Ebiri
    Earth to Echo resonates, despite itself.
    • 40 Metascore
    • 30 Bilge Ebiri
    Bana is a likable actor, but he doesn’t bring any vulnerability or transparency to the part; it’s hard to tell what he’s thinking, if he’s thinking anything at all. And so, we move from one bleak, bludgeoning setpiece to another. But with each loud noise, the film loses us more and more.
    • 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.
    • 38 Metascore
    • 50 Bilge Ebiri
    They make you wish Haggis would put away the Great Themes, the belabored dialogue, the forced narrative dynamics, and just figure out a way to scale down his scope and tell smaller stories. Maybe it’s not all as connected as he thinks.
    • 65 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.
    • 38 Metascore
    • 50 Bilge Ebiri
    Mostly uninspired and insipid, but it rallies, and builds up enough comic steam by the end that you might find yourself amused.
    • 54 Metascore
    • 50 Bilge Ebiri
    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.
    • 76 Metascore
    • 70 Bilge Ebiri
    Dragon 2 is at its best when it quiets down and dares to be intimate.
    • 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.
    • 49 Metascore
    • 40 Bilge Ebiri
    I found parts of The Sacrament more effective than anything else he’s done to date, as it’s probably the least genre of his movies. But don’t tell West that; I’m pretty sure he still thinks he’s made a horror flick.
    • 56 Metascore
    • 50 Bilge Ebiri
    Watching the movie is at once electrifying and maddening.
    • 56 Metascore
    • 50 Bilge Ebiri
    Jolie’s commitment to the part is admirable: She gives this Maleficent a real emotional urgency. But the rest of the movie lets her down.
    • 21 Metascore
    • 30 Bilge Ebiri
    Performance aside, the film never quite manages to figure out what it’s actually about.
    • 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
    • 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.
    • 51 Metascore
    • 50 Bilge Ebiri
    Transporting, well acted, and occasionally powerful. It’s also a rushed, maddening mess.
    • 56 Metascore
    • 70 Bilge Ebiri
    Million Dollar Arm is cute, cloying, simplistic, borderline offensive … and thoroughly effective.
    • 25 Metascore
    • 30 Bilge Ebiri
    A weird mix of tired jokes, topicality, and crippling anxiety.
    • 42 Metascore
    • 50 Bilge Ebiri
    It’s not a bad film, exactly, but it’s a jumbled, uncertain one, and it never quite makes a compelling case for itself.
    • 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
    • 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.
    • 45 Metascore
    • 40 Bilge Ebiri
    Slipshod and tiresome, The Protector 2 is more than a misfire, it’s a betrayal.
    • 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.
    • 41 Metascore
    • 30 Bilge Ebiri
    This demonic possession story is at times so lame it makes the last "Paranormal Activity" flick look like a masterpiece.
    • 40 Metascore
    • 30 Bilge Ebiri
    It should be wilder, funnier, nuttier.
    • 39 Metascore
    • 50 Bilge Ebiri
    A montage-happy, occasionally unpleasant film that’s still strangely watchable, The Other Woman is almost saved by a cast that’s … well, likable isn’t quite the word.
    • 17 Metascore
    • 20 Bilge Ebiri
    A Haunted House 2 is not a movie. It is a nervous breakdown.
    • 42 Metascore
    • 50 Bilge Ebiri
    Transcendence never quite succeeds at telling a story of scientific overreach. And it doesn’t really click as an action movie either. But as a human tragedy of man and monster, of beauty and beast, it has just enough genuine pathos that you wish it were better.
    • 86 Metascore
    • 80 Bilge Ebiri
    It’s the closest I’ve seen a film come to an act of genuine hypnosis.
    • 59 Metascore
    • 50 Bilge Ebiri
    Hateship Loveship is in no way a comedy, but Wiig's enormous presence threatens to make it so. She can't disappear into the void, so the drama onscreen becomes hard to take seriously.
    • 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.
    • 49 Metascore
    • 50 Bilge Ebiri
    You wish Rio 2 had the smarts and the inventiveness to match its scattered bursts of ambition.
    • 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.
    • 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.
    • 41 Metascore
    • 60 Bilge Ebiri
    For Sabotage, as good as it is in its first half, can’t keep it together.
    • 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.
    • 63 Metascore
    • 50 Bilge Ebiri
    If Cheap Thrills ultimately does carry us along, it’s due largely to Healy’s performance and presence. He’s a figure halfway between schlemiel and criminal, and the film effectively works that full range.
    • 51 Metascore
    • 50 Bilge Ebiri
    The ultimate effect of this film, directed by actor Diego Luna, is curiously cold — it never transcends the hagiographic nature of its material, despite a talented cast and a compelling subject.
    • 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.
    • 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.
    • 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.
    • 86 Metascore
    • 80 Bilge Ebiri
    Ernest and Celestine is a modest, beautiful little children’s fable with a wise, grown-up heart.
    • 57 Metascore
    • 60 Bilge Ebiri
    The film itself is uneven, but it’s kind of awesome seeing Bateman act so vile.
    • 31 Metascore
    • 30 Bilge Ebiri
    The problem here isn’t the writer-director’s politics, but his stifling lack of imagination, his complete refusal to even attempt narrative dexterity.
    • 39 Metascore
    • 50 Bilge Ebiri
    Based on the popular video games, this is a movie with breathtakingly visceral racing scenes, and they are matched by a breathtakingly, breathtakingly terrible script.
    • 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.
    • 59 Metascore
    • 70 Bilge Ebiri
    Mr. Peabody & Sherman is slight, but it’s exceedingly charming, making good use of a talented voice cast.
    • 48 Metascore
    • 50 Bilge Ebiri
    The best thing about the new 300: Rise of an Empire is that Zack Snyder didn’t direct it. And the worst thing about it is that Zack Snyder didn’t direct it.
    • 49 Metascore
    • 50 Bilge Ebiri
    While the imagery in this retelling is impeccable, the story is strangely lifeless.
    • 28 Metascore
    • 20 Bilge Ebiri
    A wan little neo-noir whose intricacies inspire more tedium than suspense, The Bag Man is a good example of how to waste a solid cast.
    • 37 Metascore
    • 40 Bilge Ebiri
    Their movie has its moments, to be sure, and the target evangelical audience may well respond enthusiastically, but, unless your own salvation is riding on it, the film is mostly a slog.
    • 40 Metascore
    • 50 Bilge Ebiri
    A comic-tragic-sentimental genre hodgepodge that wants to make you feel all the feelings amid all that action spectacle. It doesn’t entirely deliver, but at times you can’t help but admire its strangeness.
    • 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."
    • 62 Metascore
    • 70 Bilge Ebiri
    As an honest look into relationships, it's a bust. As a straight-up comedy, though, it’s hilarious.
    • 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.
    • 62 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.
    • 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.
    • 37 Metascore
    • 30 Bilge Ebiri
    Whatever its politics, Gimme Shelter fails on multiple levels.
    • 37 Metascore
    • 70 Bilge Ebiri
    A delightfully goofy slapstick cartoon with a surprisingly dark heart.
    • 41 Metascore
    • 50 Bilge Ebiri
    It all mostly works, but you can’t help but wonder at times if it could have been a lot funnier if it had just a bit more edge.
    • 72 Metascore
    • 70 Bilge Ebiri
    In Bloom feels, more than anything else, like a war movie.
    • 22 Metascore
    • 40 Bilge Ebiri
    Like so many of today’s action films, The Legend of Hercules is too busy peddling slick, stone-faced portent to ever bother making us laugh, or engaging us in any way.
    • 54 Metascore
    • 50 Bilge Ebiri
    Exquisitely produced, immaculately acted, and thoroughly uninvolving, The Secret Life of Walter Mitty is a perfect nothing of a movie.
    • 35 Metascore
    • 40 Bilge Ebiri
    The result is maybe more interesting than we might have expected, but it’s not particularly funny.
    • 28 Metascore
    • 50 Bilge Ebiri
    This one never quite decides if it wants to be a big, boisterous epic or a solemn retelling, and it nearly disappears into the crack between the two.
    • 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.
    • 42 Metascore
    • 30 Bilge Ebiri
    Does anybody really find this crap scary anymore?
    • 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.
    • 54 Metascore
    • 80 Bilge Ebiri
    This smallest of films marks a welcome return to the world of interpersonal miniature for the writer-director.
    • 28 Metascore
    • 10 Bilge Ebiri
    I don’t know, maybe it worked as theater. Onscreen, it’s torture.
    • 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.
    • 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.
    • 69 Metascore
    • 70 Bilge Ebiri
    White Reindeer is a deliberately awkward little movie, and it’s a hard one to shake.
    • 40 Metascore
    • 40 Bilge Ebiri
    A thoroughly boilerplate bayou actioner, with one notable feature. It’s got good villains – nasty, delirious, stupid villains, among them Franco and Ryder – and for that it’s almost worth seeing. Almost.
    • 75 Metascore
    • 80 Bilge Ebiri
    Frozen is one of the few recent films to capture that classic Disney spirit.
    • 48 Metascore
    • 60 Bilge Ebiri
    It doesn’t always work as drama, but as a musical, it’s often fantastic.
    • 44 Metascore
    • 50 Bilge Ebiri
    Delivery Man feels more unformed, as if nobody’s bothered to give it that extra coat of slick Hollywood paint to cover up the patchwork beneath.
    • 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.
    • 54 Metascore
    • 50 Bilge Ebiri
    Look, Dear Mr. Watterson is a nice movie. Calvin & Hobbes fans may get a kick out of it. But it falls squarely into the promotional genre of documentary filmmaking — the same way so many music docs nowadays seem to be just movies about how awesome the director’s favorite band is.
    • 31 Metascore
    • 50 Bilge Ebiri
    However you cut it, with all that talent, Charlie Countryman feels like a sad, wasted opportunity.
    • 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.
    • 48 Metascore
    • 50 Bilge Ebiri
    We know where it’s going, and it doesn’t take long to get there. There are some good jokes along the way, a few of them blandly off-color.
    • 52 Metascore
    • 70 Bilge Ebiri
    It’s the kind of solid, small-scale, entertaining action flick we probably need more of these days.
    • 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.
    • 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.
    • 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.
    • 65 Metascore
    • 50 Bilge Ebiri
    Kill Your Darlings wants to be a young man’s movie, but it’s all “cinema du papa,” as the French New Wave used to call it. The philosophical disconnect is downright cosmic.
    • 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.
    • 36 Metascore
    • 50 Bilge Ebiri
    Ben Affleck makes for a pretty good jerk, but he can’t pull off outright villainy. That’s probably the main problem with the crime thriller Runner Runner.
    • 34 Metascore
    • 40 Bilge Ebiri
    This is a movie that can’t decide on the story it wants to tell, and can’t seem to tell it particularly well, either.
    • 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.
    • 29 Metascore
    • 50 Bilge Ebiri
    Luckily, there is a movie you can watch instead that will give you both fascinating context and awesome dancing. It’s called "Planet B-Boy."
    • 74 Metascore
    • 80 Bilge Ebiri
    Rush satisfies our lust for both grand character combat and deadly gearhead spectacle.
    • 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.
    • 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.
    • 60 Metascore
    • 30 Bilge Ebiri
    For all of R’s allegedly humorous observations about the wasteland of the undead through which he walks, they feel tacked on — like somebody decided to turn this thing into a comedy at the last second.
    • 58 Metascore
    • 70 Bilge Ebiri
    As much as its premise may sound like the start of a bad joke, Peter Ramsey's movie preserves just enough genuine childhood wonder in its whooshing, high-tech theatrics to make it a delight.
    • 34 Metascore
    • 50 Bilge Ebiri
    Spirit of Vengeance is so focused and, as a result, so impoverished that you actually feel bad for Cage. The actor tries to bring the weird (though at this point one wonders if he can even do anything else) but the film more often than not leaves him high and dry, saddling him with standard-issue action hero lines and boilerplate action set-pieces.
    • 57 Metascore
    • 50 Bilge Ebiri
    Novelist-turned-director Leigh's dryly efficient style is perched between the matter-of-fact and the impossibly arty.
    • 82 Metascore
    • 90 Bilge Ebiri
    By the time the spellbinding and mysterious final shot rolls around, we’re left with this thought, the sad, mad truth of an authoritarian world: Nobody’s innocent, and everybody’s a victim.
    • 78 Metascore
    • 90 Bilge Ebiri
    Who’s telling this story? you might wonder, and therein lies the radical, breathtaking beauty of this film. Madeline’s Madeline is at once intoxicated by the world and deeply terrified of it.
    • 66 Metascore
    • 80 Bilge Ebiri
    Ten years later, Idiocracy’s real achievement isn’t how much of it has come true, but how much it continues to disturb.
    • 89 Metascore
    • 90 Bilge Ebiri
    Eighth Grade rejects predictable plot points and instead lives on the electric edge of awkwardness and uncertainty and doubt that represents the middle school experience; you never quite know what’s going to happen to Kayla, and that feels right.
    • 66 Metascore
    • 50 Bilge Ebiri
    Our New President merely scratches the surface, and in its own weird way, comes to embody the plague of shallow spectacle it purports to fight against.
    • 81 Metascore
    • 100 Bilge Ebiri
    A near-masterpiece. The fashions and music and attitudes on display might have been interpreted at the time as opportunistic stabs at au courant stylization, but the film is nevertheless overpowering and otherworldly rather than quaint or kitschy. It feels like a transmission from a different planet. To Live and Die in L.A. is so of its time that you can only be captivated by it.
    • 83 Metascore
    • 80 Bilge Ebiri
    The Guilty beautifully demonstrates how people can act with absolute conviction even when they don’t have the full picture of a situation, and the monstrousness this can in turn lead to. And if that doesn’t speak to our time, then I don’t know what does.
    • 100 Metascore
    • 100 Bilge Ebiri
    Dekalog certainly lives up to its reputation as a mind-altering masterpiece. You marvel at the precision of its filmmaking even as it spreads an atmosphere of moral unease.
    • 90 Metascore
    • 80 Bilge Ebiri
    It takes a remarkably assured artist to make all this work, and Fox is savvy about how she eases us into her complicated narrative.
    • 88 Metascore
    • 100 Bilge Ebiri
    Granik films with subtlety and quiet grace, but Leave No Trace explodes in the mind.
    • 78 Metascore
    • 90 Bilge Ebiri
    It’s hard not to experience Did You Wonder Who Fired the Gun? and not get shivers up your spine — from fear, from anger, and from the beauty of Wilkerson’s filmmaking.
    • 81 Metascore
    • 80 Bilge Ebiri
    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.

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