For 4,075 reviews, this critic has graded:
  • 75% higher than the average critic
  • 2% same as the average critic
  • 23% lower than the average critic
On average, this critic grades 11.9 points higher than other critics. (0-100 point scale)

Roger Ebert's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 Wonder Boys
Lowest review score: 0 Chaos
Score distribution:
4,075 movie reviews
    • 78 Metascore
    • 100 Roger Ebert
    All of these moments unfold in a film of astonishing maturity and confidence; Eve's Bayou, one of the very best films of the year, is the debut of its writer and director, Kasi Lemmons.
    • 64 Metascore
    • 100 Roger Ebert
    An extraordinary thriller... The film centers on two remarkable performances, by Gwyneth Paltrow and Hope Davis.
    • 88 Metascore
    • 100 Roger Ebert
    Philip Seymour Hoffman's precise, uncanny performance as Capote doesn't imitate the author so much as channel him, as a man whose peculiarities mask great intelligence and deep wounds.
    • 80 Metascore
    • 100 Roger Ebert
    The other key character is McCarthy himself, and Clooney uses a masterstroke: He employs actual news footage of McCarthy, who therefore plays himself.
    • 68 Metascore
    • 100 Roger Ebert
    After "Monster," here is another extraordinary role from an actress [Theron] who has the beauty of a fashion model but has found resources within herself for these powerful roles about unglamorous women in the world of men.
    • 80 Metascore
    • 100 Roger Ebert
    The movie is a great American document, but it's also entertaining. (Review of Original Release)
    • 61 Metascore
    • 100 Roger Ebert
    It's pure cinema, spread over several genres. It's a caper movie, a gangster movie, a sex movie and a slapstick comedy.
    • 83 Metascore
    • 100 Roger Ebert
    But I'm making Welcome to the Dollhouse sound like some sort of grim sociological study, and in fact it's a funny, intensely entertaining film.
    • 82 Metascore
    • 100 Roger Ebert
    The movie is well cast from top to bottom; like many British films, it benefits from the genius of its supporting players.
    • 54 Metascore
    • 100 Roger Ebert
    The performance by Flora Cross is haunting in its seriousness. She doesn't act out; she acts in.
    • 76 Metascore
    • 100 Roger Ebert
    An endlessly fascinating movie.
    • 87 Metascore
    • 100 Roger Ebert
    Brokeback Mountain has been described as "a gay cowboy movie," which is a cruel simplification. It is the story of a time and place where two men are forced to deny the only great passion either one will ever feel. Their tragedy is universal.
    • 81 Metascore
    • 100 Roger Ebert
    A magnificent entertainment. It is like the flowering of all the possibilities in the original classic film.
    • 77 Metascore
    • 100 Roger Ebert
    In an era when hundreds of lives are casually destroyed in action movies, here is an entire film in which one life is honored, and one death is avenged.
    • 72 Metascore
    • 100 Roger Ebert
    One reason for the fascination of Woody Allen's Match Point is that each and every character is rotten.
    • 74 Metascore
    • 100 Roger Ebert
    As a thriller, Munich is efficient, absorbing, effective. As an ethical argument, it is haunting.
    • 83 Metascore
    • 100 Roger Ebert
    A perplexing and disturbing film of great effect.
    • 69 Metascore
    • 100 Roger Ebert
    Pocahontas was given the gift of sensing the whole picture, and that is what Malick founds his film on, not tawdry stories of love and adventure. He is a visionary, and this story requires one.
    • 63 Metascore
    • 100 Roger Ebert
    Everything about the film -- its casting, its filming, its release -- is daring and innovative.
    • 80 Metascore
    • 100 Roger Ebert
    Because their work is so varied, the director Winterbottom and Boyce, his frequent writer, are only now coming into focus as perhaps the most creative team in British film.
    • 78 Metascore
    • 100 Roger Ebert
    We've seen this done before, but seldom so well, or at such a high pitch of energy.
    • 70 Metascore
    • 100 Roger Ebert
    What a simple and yet profound story this is.
    • 89 Metascore
    • 100 Roger Ebert
    Fantastically powerful despite its flaws. (Review of Original Release)
    • 89 Metascore
    • 100 Roger Ebert
    There is mostly sadness and regret at the surface in 4 Little Girls, but there is anger in the depths, as there should be.
    • 87 Metascore
    • 100 Roger Ebert
    Here is a film where God does not intervene and the directors do not mistake themselves for God. It makes the solutions at the ends of other pictures seem like child's play.
    • 93 Metascore
    • 100 Roger Ebert
    Above all one of the most beautiful films ever made. Malick's purpose is not to tell a story of melodrama, but one of loss. His tone is elegiac. He evokes the loneliness and beauty of the limitless Texas prairie. [7 Dec. 1997]
    • 90 Metascore
    • 100 Roger Ebert
    This is a masterful and heartbreaking film, and it does honor to the memory of the victims.
    • 84 Metascore
    • 100 Roger Ebert
    Like "United 93" and the work of the Dardenne brothers, it lives entirely in the moment, seeing what happens as it happens, drawing no conclusions, making no speeches, creating no artificial dramatic conflicts, just showing people living one moment after another, as they must.
    • 72 Metascore
    • 100 Roger Ebert
    Keke Palmer, a young Chicago actress whose first role was as Queen Latifah's niece in "Barbershop 2," becomes an important young star with this movie. It puts her in Dakota Fanning and Thora Cross territory, and there's something about her poise and self-possession that hints she will grow up to be a considerable actress.
    • 80 Metascore
    • 100 Roger Ebert
    Three varieties of love: unfulfilled, mercenary, meaningless. All photographed with such visual beauty that watching the movie is like holding your breath so the butterfly won’t stir.

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