For 710 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 1.3 points higher than other critics. (0-100 point scale)

Bilge Ebiri's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 War for the Planet of the Apes
Lowest review score: 0 The Human Centipede III (Final Sequence)
Score distribution:
  1. Negative: 68 out of 710
710 movie reviews
    • 60 Metascore
    • 50 Bilge Ebiri
    Mitchell has interesting ideas, and his actors seem to be having fun, but that’s not enough when the film itself lacks atmosphere, or tension, or emotional engagement.
    • 87 Metascore
    • 90 Bilge Ebiri
    Lazzaro Felice has genuine sweep and grandeur, and Rohrwacher’s most impressive feat here might be her ability to find just the right narrative and emotional distance for each section of the story, as it moves from rustic drama to picaresque journey to more pointed social allegory; we’re always given just enough information to understand and appreciate the characters’ interactions and motivations.
    • 62 Metascore
    • 60 Bilge Ebiri
    A movie can and should stand on its own, of course, but it still needs to find a way to give weight and scope to this intimate miniature. And while Dominic Cooke’s film succeeds at much of what it attempts, I can’t shake the feeling that there’s a dimension missing.
    • 90 Metascore
    • 90 Bilge Ebiri
    Narratively, the music in Cold War is a means to an end; emotionally, however, it’s everything, often expressing what the characters cannot say themselves.
    • 67 Metascore
    • 90 Bilge Ebiri
    Climax isn’t so much about the inevitability of chaos, but about the sadness of watching something beautiful fall apart. And it is never less than electrifying.
    • 83 Metascore
    • 90 Bilge Ebiri
    It’s alternatingly comic, heroic, tragic, horrifying, ridiculous, dead serious, clear-eyed, and confused; it shifts into moments of documentary and even essay film, but it’s also one of Lee’s more entertaining and vibrantly constructed works. I don’t know that I’ve ever seen a movie exploit its tonal mismatches so voraciously and purposefully.
    • 42 Metascore
    • 30 Bilge Ebiri
    As a longtime admirer of the director’s work, I can’t quite believe I’m saying this, but the most shocking thing I found about The House That Jack Built is how tedious it is. A shame, because The House That Jack Built feels like a genuinely sincere attempt on the filmmaker’s part to wrestle with the legacy of his creation.
    • 72 Metascore
    • 70 Bilge Ebiri
    The imaginative and compassionate leaps of Hong’s other recent films — which spin stories out of the wounded women in the filmmaker’s life — are nowhere to be found. Still, the candor is impressive, and the pain feels real. The Day After may not be a particularly great film, but it does feel like a necessary one.
    • 73 Metascore
    • 70 Bilge Ebiri
    Perhaps if Kubrick himself wasn’t obsessed, if his films weren’t so thoroughly overwhelming in real life, then they wouldn’t have exploded in our minds the way they did. Filmworker is both a cautionary tale and a tribute to this kind of compulsion.
    • 71 Metascore
    • 70 Bilge Ebiri
    RBG
    As a work of feel-good advocacy, it checks pretty much all the boxes, making its way through the key cases of her career, while also offering a personal look at the woman herself. Yet it’s hard not to want more from RBG, precisely because its subject is so remarkable and her ideas so consequential.
    • 68 Metascore
    • 80 Bilge Ebiri
    The story works largely on the level of metaphor, but it’s never overbearing or suffocating; there’s life here. A lot of credit should go to the actors, particularly the lead. As the film moves along, García’s face seems to change dramatically.
    • 75 Metascore
    • 80 Bilge Ebiri
    It is not easy to describe In the Last Days of the City, an immersive visual experience with a wisp of a story and a wellspring of ideas.
    • 58 Metascore
    • 70 Bilge Ebiri
    The House of Tomorrow sticks to a time-tested coming-of-age template that’s as common in the indie world as the superhero origin story is in the studio world. But there’s good news, too: When it’s not busy hitting the usual notes, Peter Livolsi’s film, which is based on a novel by Peter Bognanni, manages to be a touching exploration of what “tomorrow” actually means.
    • 61 Metascore
    • 60 Bilge Ebiri
    At times the film seems to struggle to find the right aperture: It hints at elements I wanted to know more about, and occasionally goes into avenues that seem to distract from Pauline’s compelling storyline.
    • 48 Metascore
    • 50 Bilge Ebiri
    Schumer remains likable, and the film has its moments, but there are so many excellent opportunities here for poignant cringe comedy that more often than not I Feel Pretty feels like a missed opportunity — and a slow, ponderous one at that.
    • 92 Metascore
    • 100 Bilge Ebiri
    Zhao takes a different approach, privileging the narrative, the poetry, and the realism in equal measure, blending them together to create something astonishingly powerful.
    • 52 Metascore
    • 60 Bilge Ebiri
    There’s little in Paul, Apostle of Christ that’s not predictable, but the film engages honestly enough with its ideas that at times it feels like a small…well, let’s not use the word miracle in this case. It doesn’t shy away from complexity, and for that we can all be grateful — believers and heathens alike.
    • 64 Metascore
    • 60 Bilge Ebiri
    Ready Player One is entertaining enough, and it’s certainly well-made, but what truly stands out is the filmmaker’s prevailing-present sense of bemused disgust at the way his offspring are spending their time. He can’t go home again, and he knows it.
    • 82 Metascore
    • 90 Bilge Ebiri
    Anderson has a sharp grasp of slapstick and visual humor, and he uses deadpan about as well as anybody since the great silent comedians. But for all the laughs and the social resonance, Anderson and his team have first and foremost conjured a work of spellbinding loveliness.
    • 44 Metascore
    • 40 Bilge Ebiri
    My dad took me. He was a film critic and he’d already seen it for work, but then he took me opening weekend and fell asleep while I watched it. He did that a lot. But I think he liked it. I guess he wouldn’t have gone to see it again if he didn’t. What kind of idiot does that?
    • 35 Metascore
    • 30 Bilge Ebiri
    The Hurricane Heist delivers what it promises on some basic level; it’s got plenty of hurricane, and it’s got plenty of heist. But those looking for Sharknado-style idiocy will probably be disappointed, as will those looking for anything that makes sense. That might be the film’s fundamental problem.
    • 49 Metascore
    • 30 Bilge Ebiri
    They Remain wants to unsettle us and invade our brains. Instead, what little power it has vanishes long before the credits roll. What remains is tedium.
    • 80 Metascore
    • 90 Bilge Ebiri
    For all its airy lightness and apparent simplicity, it’s hard not to watch Claire’s Camera and sense beneath its placid surfaces the fretful voice of a filmmaker who longs to return to the elements of his art.
    • 88 Metascore
    • 100 Bilge Ebiri
    The Death of Stalin would be a brilliant, harrowing film even without all that contemporary resonance.
    • 73 Metascore
    • 70 Bilge Ebiri
    Its story may be thin, its characters not particularly original, but McKenzie’s use of cinematic language is savvy and novel, finding complexity where others might find only emptiness.
    • 72 Metascore
    • 70 Bilge Ebiri
    The way Dosunmu shoots her, she feels somehow both fragile and unchanging: It wouldn’t take much to turn Kyra herself into a blur, to erase her from the screen completely; but the broader sorrow that she represents will never go away. Where is Kyra? She’s in the midst of disappearing, but she’s also everywhere.
    • 76 Metascore
    • 80 Bilge Ebiri
    For most of its running time, The Student is immensely compelling, a terrifying ride between hothouse realism and dreamy metaphor. If by the end it feels unresolved, perhaps that’s because the nightmare is far from over.
    • 51 Metascore
    • 70 Bilge Ebiri
    While the film does insist on its own irreverence a bit too much at the outset...it offers plenty of lively fun once it settles down, and wisely keeps the pandering to a minimum.
    • 77 Metascore
    • 70 Bilge Ebiri
    The surprisingly vibrant, hand-drawn images of Have a Nice Day revitalize the story’s more tired elements. It may not give us anything new, but Jian Liu’s film looks lovely and, at 77 minutes, doesn’t overstay its welcome. And sometimes that’s enough.
    • 75 Metascore
    • 90 Bilge Ebiri
    Mary and the Witch’s Flower and its eye-popping cavalcade of creations and colors speak not to the shock and awe of technology but to the can-do magic of human achievement.

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