Bilge Ebiri is the principal film critic at the Village Voice. Ebiri's work also appears in the publications of the Voice’s film partner, Voice Media Group: LA Weekly, Denver Westword, Phoenix New Times, Miami New Times, Broward-Palm Beach New Times, Houston Press and Dallas Observer.
5 days ago | Film and TV
There is a better, more touching movie hidden somewhere inside The Only Living Boy in New York, and you can often see it creeping in around the edges. It’s not to be found in the somewhat empty coming-of-age narrative at the film’s center, which f...
There is a better, more touching movie hidden somewhere inside The Only Living Boy in New York, and you can often see it creeping in around the edges. It's not to be found in the somewhat empty coming-of-age narrative at the film's center,...
Aubrey Plaza is a national treasure, but the movies still haven't figured out what to do with her. Ingrid Goes West comes close, though, with its twisted, of-the-moment tale of an Instagram stalker who infiltrates the personal life of a...
14 days ago | Film and TV
Taylor Sheridan isn’t afraid to embrace genre. His Wind River plays more like an unusually well-made episode of CSI: Wyoming than the highly anticipated directorial effort from the screenwriter of Hell or High Water (which may well have been last ...
20 days ago | Film Reviews
Michelangelo Antonioni’s Blow-Up has pretty much the greatest, most legendary fuck-you ending in all of cinema history: an imaginary tennis match between two mimes to conclude an oblique murder mystery. Somehow, it’s also an ideal finale to this m...
20 days ago | Film and TV
I sincerely hope that there’s a five-hour cut of Kathryn Bigelow’s Detroit somewhere, a version with cleaner through-lines, deeper characterizations and a more organic narrative. But the version that we have right now — a messy, troubling beast cl...