Bilge Ebiri is a film critic for New York and Vulture. His work has appeared in The Village Voice, the New York Times, Rolling Stone, and the Criterion Collection.
movie review
Somehow, Morbius Is FunIt’s a brisk, over-the-top thriller, with plenty of atmosphere and a couple of genuinely moving performances at its heart.
The Adam Project Feels Like a Fake MovieDerivativeness in and of itself isn’t always a problem. But when it’s all handled this shoddily, what comes through is crass, careless opportunism.
profile
In Another Life, Ke Huy Quan Was a StarHe was an ’80s icon who left acting behind. For his role in Everything Everywhere All at Once, he called on his past selves.
Cyrano Is StunningIt’s one of the most romantic movies ever made, but it’s all evasion, heartache, and yearning.
oscars 2022
Self-loathing Will Kill the OscarsThose of us who actually watch the movie awards embrace the goofiness and grandiosity and bloat of the ceremony. Why can’t the Academy?
Jackass Forever Is a Kinder, Gentler JackassThis might be a more emotional movie than the others. It’s also got more dongs, more zappers, and something called “Scorpion Botox.”
oh dude it hurts
The Exquisite Catharsis of JackassFans come for the idiotic stunts, but we stay for the relieving, foulmouthed release we wish for ourselves.
The Movies Are Gonna Be All RightI gave Spider-Man: No Way Home a lousy review, but even I’m happy to see it doing well. In fact, I’m flat-out optimistic about the future of movies.
Leave Mike Leigh AloneAfter all these years, the fascinating director still won’t take a job “if there’s the remotest possibility anybody is going to interfere.”
Cousteau and Me‘Becoming Cousteau’ charts the legendary explorer’s life, but it strikes a note of despair.
endings
Where Does James Bond Go From Here?No Time to Die’s ending is a cathartic rebuke to the nauseating interconnectedness of just about every other franchise blockbuster. But what’s next?
