Oktay Ege Kozak

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For 53 reviews, this critic has graded:
  • 56% higher than the average critic
  • 1% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 1.2 points lower than other critics. (0-100 point scale)

Oktay Ege Kozak 's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Glassland
Lowest review score: 16 The Model
Score distribution:
  1. Positive: 31 out of 53
  2. Negative: 8 out of 53
53 movie reviews
    • 37 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.
    • 41 Metascore
    • 20 Oktay Ege Kozak
    The problem with director and writer Hallie Myers-Sheyer’s film is that it just blandly presents all of the expected cliches of the genre without anything really new or unique to say.
    • 85 Metascore
    • 80 Oktay Ege Kozak
    Served Like a Girl manages to inform the audience about its important subject matter in an always engaging way while also telling an entertaining story with as many twists and turns as one might find in a fictionalized counterpart.
    • 69 Metascore
    • 75 Oktay Ege Kozak
    It’s a major step up for the filmmaker in both narrative and technical terms.
    • 36 Metascore
    • 20 Oktay Ege Kozak
    The Nut Job 2 actually contains some impressive animation, with photorealistic backgrounds and detailed fur dynamics on the characters, but that makes it an even bigger tragedy, since we know that untold hours were spent by artists in service of a product that even the least discerning child would find tired and useless.
    • 86 Metascore
    • 80 Oktay Ege Kozak
    You might have heard about ISIS using spiffy, Hollywood-style propaganda videos to attract new recruits, but City of Ghosts breaks down how nefarious and well-organized this operation is, as the members of RBSS point out the ways in which ISIS took clear production lessons from Hollywood to make their videos as attractive to impressionable youth as possible.
    • 49 Metascore
    • 50 Oktay Ege Kozak
    As much as I love to harp on Despicable Me 3’s lazy and cynical execution, this is a fairly inoffensive, zippy and colorful time-waster for the little ones.
    • 37 Metascore
    • 20 Oktay Ege Kozak
    Baywatch is a tonal mess of epic proportions.
    • 39 Metascore
    • 70 Oktay Ege Kozak
    Dead Men Tell No Tales doesn’t rewrite the rulebook for the franchise or the genre as a whole, and is wholly predictable from start to finish, but the likable characters—Thwaites and Scodelario have more natural presence and mutual chemistry than Bloom and Knightley—creative action set pieces, and Depp finally being put in his place in the franchise creates a fun ride that’s instantly forgettable. You know, like the ride itself.
    • 81 Metascore
    • 75 Oktay Ege Kozak
    Gay’s picture proves once again that one can construct a comedy out of such material, as long as one respects the subject matter and refrains from being gimmicky in order to feel edgy and cool.
    • 73 Metascore
    • 83 Oktay Ege Kozak
    All This Panic doesn’t offer any revolutionary approaches to this type of intimate documentary, and the subject matter might be too broad for some, but it makes up for its lack of originality with heart and genuine emotion.

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