Oktay Ege Kozak

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For 63 reviews, this critic has graded:
  • 58% higher than the average critic
  • 1% same as the average critic
  • 41% lower than the average critic
On average, this critic grades 0.5 points lower than other critics. (0-100 point scale)

Oktay Ege Kozak 's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Glassland
Lowest review score: 16 The Model
Score distribution:
  1. Positive: 40 out of 63
  2. Negative: 8 out of 63
63 movie reviews
    • 49 Metascore
    • 50 Oktay Ege Kozak
    There are some individual moments and elements to like here, but taken as a whole, Bohemian Rhapsody is mostly a flatline with occasional blips of life here and there—and not nearly enough to bring the whole body back from the dead.
    • 82 Metascore
    • 75 Oktay Ege Kozak
    Casting Amandla Stenberg to carry the project was an inspirational choice: She’s luminous and always captivating in the part, delivering a natural performance that allows easy access to Starr’s soul.
    • 69 Metascore
    • 80 Oktay Ege Kozak
    This is the most engaging and emotionally effective Moore doc since Bowling for Columbine.
    • 35 Metascore
    • 65 Oktay Ege Kozak
    It’s occasionally delightful, frequently funny, and good enough to make me look forward to what Greer will do next behind the camera.
    • 67 Metascore
    • 84 Oktay Ege Kozak
    Abrahamson can transition seamlessly between static James Ivory-type long shots of the soothing English countryside, easing the audience into a sense of comfort that comes with the high-class beauty of the period drama, and uncomfortable close-ups of faces, weaning in and out of focus, daring us to confront the neuroses of the characters head on. Underneath the veneer of uber-polite socializing is a vast inner turmoil.
    • 67 Metascore
    • 70 Oktay Ege Kozak
    As messy and predictable as its plot can get, A Simple Favor is an engaging throwback to the aforementioned tongue-in-cheek mysteries, drawing much of its energy from the chemistry between Kendrick and Lively. It need not be any more than that.
    • 67 Metascore
    • 65 Oktay Ege Kozak
    Gus Van Sant’s film certainly captures how Callahan used whimsy as a defense mechanism against seemingly insurmountable real-life conflict, but Don’t Worry, He Won’t Get Far on Foot captures little of how Callahan’s art was such a vital part of that whimsy.
    • 52 Metascore
    • 65 Oktay Ege Kozak
    All of the plot developments, including the third act twist, are predictable for aficionados of the genre, but the many successful standalone comedy and action sequences, as well as the natural chemistry between Kunis and McKinnon, keep us going.
    • 57 Metascore
    • 75 Oktay Ege Kozak
    This is one of those rare occasions in which a movie uses the dusty trope of turning a group of oddball misfits into a “family” and actually pulls it off in an emotionally satisfying way.
    • 56 Metascore
    • 65 Oktay Ege Kozak
    Tag
    Tag is a bit of a mess, the well-paced runtime not allowing gag-based physical comedy and dramedy to exist equally on the same plain, just barely fun enough to keep an otherwise one-joke premise elevated.
    • 36 Metascore
    • 30 Oktay Ege Kozak
    Such a thin plot from some of the Jackass guys would have been completely forgiven, or even blissfully ignored, if the stunts were on par, or at least close to, what we expect from these guys.
    • 50 Metascore
    • 92 Oktay Ege Kozak
    How to Talk to Girls at Parties is a deliciously bizarre and refreshingly unique experience that not only manages to successfully meld two completely opposite tones—punk and whimsy—but to wrap them up into an exhilarating narrative that infuses a familiar sci-fi/comedy/romance structure with a host of surprises that even the most hardened genre scholar will appreciate.
    • 24 Metascore
    • 40 Oktay Ege Kozak
    Carrey commits one hundred and ten percent, fluctuating accent notwithstanding. It’s only a matter of time before his newfound artistic intensity will be matched to suitable material to create something special.
    • 53 Metascore
    • 70 Oktay Ege Kozak
    The natural chemistry between the four leads is what gives this material the energy it needs. They all bring their A-game here.
    • 37 Metascore
    • 40 Oktay Ege Kozak
    There doesn’t seem to be any insidious motivation behind writer/director Deon Taylor’s vision for his film, no purposeful undermining of the real impact of sex slavery by coating it in a veneer similar to what can modestly be described as a highly eroticized, run-off-the-mill basic cable home invasion thriller. It’s misguided, not nefarious.
    • 46 Metascore
    • 40 Oktay Ege Kozak
    It bears an overall feeling that we’re watching a work in progress.
    • 35 Metascore
    • 20 Oktay Ege Kozak
    Truth or Dare commits the cardinal sin of a film with such a stupid premise; it tries to explain the spiritual source of the game.
    • 90 Metascore
    • 80 Oktay Ege Kozak
    With its unflinching and painstaking execution of such grim subject matter, Foxtrot is certainly not an easy watch, but an ultimately rewarding one.
    • 36 Metascore
    • 50 Oktay Ege Kozak
    The reason such a colorful mainstream family time-waster should exist is to string together a bunch of zippy PG-rated action set-pieces. In that sense, the film succeeds at the basest level, thanks primarily to the beautifully crisp animation, a big step-up from the first film’s overtly plastic CG look.
    • 49 Metascore
    • 72 Oktay Ege Kozak
    With a deft docudrama approach (that doesn’t overdo the usual extra-shaky handheld camera and overtly grainy visual tone), Padilha shows a commendable technical control over that rare movie that could have benefitted from being much longer.
    • 35 Metascore
    • 60 Oktay Ege Kozak
    In many ways, The Hurricane Heist’s lack of self-awareness regarding just how dated it feels plays to its advantage. If you’re looking for that 1997 big-budget CG showcase experience without the wink-wink self deprecating irony of The Lonely Island or Deadpool, then you should be fairly satisfied with this cinematic time capsule.
    • 46 Metascore
    • 70 Oktay Ege Kozak
    It’s the central performance by Oyelowo, who allows us to laugh at Harold’s naiveté and tomfoolery with some well-placed broad comedy choices while never dropping the ball on the character’s relatability, that makes Gringo a worthy watch for genre fans.
    • 31 Metascore
    • 40 Oktay Ege Kozak
    This is a standard vigilante/revenge fantasy too plodding to deliver the base genre goodies, and too simplistic to work as a character study on how a sudden life of violence can irredeemably disrupt an average citizen’s psyche, the way the original film at least half-heartedly attempted to do.
    • 66 Metascore
    • 40 Oktay Ege Kozak
    Bateman and McAdams have some fun with the gonzo goofiness of the project, and milk a couple of comedy set-pieces—like one about a gunshot wound and a squeaky toy—but the flatness of their characters leaves no room for relatability.
    • 51 Metascore
    • 55 Oktay Ege Kozak
    Chances are that if you’re a big fan of the book series, you’ll be satisfied with this halfway competent but way overlong resolution to the saga.
    • 67 Metascore
    • 75 Oktay Ege Kozak
    [Barker's] film only tries to let us understand the constant and harsh pressures that people in such high positions of power go through daily, and that it does well enough.
    • 49 Metascore
    • 65 Oktay Ege Kozak
    Insidious: The Last Key certainly doesn’t rewrite the rules of the genre, but it’s a solid entry in a franchise I thought would have run out of steam by now, and you can certainly do a lot worse when it comes to an early January release.
    • 58 Metascore
    • 45 Oktay Ege Kozak
    Kasdan isn’t known for pulling off big budget action properties. He does his best here to create a kinetic pace, but the execution is always flat and dull.
    • 77 Metascore
    • 65 Oktay Ege Kozak
    Screenwriter Steven Rogers and director David Gillespie get an “A” for effort as far as their brave attempt to meld these wildly differing tones into a cohesive narrative, but their execution, as satisfying as it might be, too obviously reaches for a pedigree it hasn’t yet earned.
    • 83 Metascore
    • 80 Oktay Ege Kozak
    This being a Steven Spielberg joint, The Post can’t help but gradually bring heavy emotional tension to the film’s forefront, easing us moment by moment into a fairly manipulative yet exhilarating finale. None of that should come as a surprise: “Manipulative but exhilarating” might as well be the director’s calling card.

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