For 4,296 reviews, this critic has graded:
  • 74% higher than the average critic
  • 2% same as the average critic
  • 24% lower than the average critic
On average, this critic grades 9.6 points higher than other critics. (0-100 point scale)

Roger Ebert's Scores

  • Movies
  • TV
Average review score: 72
Highest review score: 100 2001: A Space Odyssey
Lowest review score: 0 Dirty Love
Score distribution:
4296 movie reviews
    • 76 Metascore
    • 100 Roger Ebert
    Not many movies like this get made, because not many filmmakers are so bold, angry and defiant.
    • 93 Metascore
    • 100 Roger Ebert
    It is a surprisingly entertaining film - funny, wicked, sharp-tongued and devious. It does not solve the case, nor intend to. I am afraid it only intends to entertain.
    • 91 Metascore
    • 100 Roger Ebert
    An experience so engrossing it is like being buried in a new environment.
    • 76 Metascore
    • 100 Roger Ebert
    In the way it combines sports with human nature, it reminded me of another wonderful Indiana sports movie, "Breaking Away." It's a movie that is all heart.
    • 80 Metascore
    • 100 Roger Ebert
    By the end of the movie, we have been through an emotional and a sensual wringer, in a film of great wisdom and delight.
    • 86 Metascore
    • 100 Roger Ebert
    This series should be sealed in a time capsule. It is on my list of the 10 greatest films of all time, and is a noble use of the medium.
    • 91 Metascore
    • 100 Roger Ebert
    It comes closer to reflecting the current state of race relations in America than any other movie of our time.
    • 85 Metascore
    • 100 Roger Ebert
    It's rare to get a good movie about the touchy adult relationship of a sister and brother. Rarer still for the director to be more fascinated by the process than the outcome. This is one of the best movies of the year.
    • 80 Metascore
    • 100 Roger Ebert
    The funniest movie I have seen in a long time.
    • 66 Metascore
    • 100 Roger Ebert
    If "Henry V," the first film [Branaugh] directed and starred in, caused people to compare him to Olivier, "Dead Again" will inspire comparisons to Welles and Hitchcock - and the Olivier of Hitchcock's "Rebecca."
    • 70 Metascore
    • 100 Roger Ebert
    It is not a "dirty movie," and in fact takes spirituality and morality more seriously than most films do. And in the bad lieutenant, Keitel has given us one of the great screen performances in recent years.
    • 90 Metascore
    • 100 Roger Ebert
    This is one of the best films of the year, an unflinching lament for the human condition.
    • 79 Metascore
    • 100 Roger Ebert
    Los Angeles always seems to be waiting for something. Permanence seems out of reach; some great apocalyptic event is on the horizon, and people view the future tentatively. Robert Altman's Short Cuts captures that uneasiness perfectly.
    • 79 Metascore
    • 100 Roger Ebert
    I saw Tarzan once, and went to see it again. This kind of bright, colorful, hyperkinetic animation is a visual exhilaration.
    • 77 Metascore
    • 100 Roger Ebert
    Pollock is confident, insightful work--one of the year's best films.
    • 88 Metascore
    • 100 Roger Ebert
    A tense, taut and expert thriller that becomes something more than that, an allegory about an innocent man in a world prepared to crush him.
    • 89 Metascore
    • 100 Roger Ebert
    The splendid cast embodies the characters so fully that the events actually seem to be happening to them, instead of unfolding from a screenplay.
    • 72 Metascore
    • 100 Roger Ebert
    The film is inspirational and educational - and it is also entertaining, as movies must be before they can be anything else.
    • 85 Metascore
    • 100 Roger Ebert
    A movie that is not only ingenious and entertaining, but liberating, because we can sense the story isn't going to be twisted into conformity with some stupid formula.
    • 97 Metascore
    • 100 Roger Ebert
    Made with sublime innocence and breathtaking artistry, at a time when its simple values rang true.
    • 90 Metascore
    • 100 Roger Ebert
    This film is delightful in the way it finds its own way to tell its own story. There was no model to draw on, but Shari Springer Berman and Robert Pulcini, who wrote and directed it, have made a great film by trusting to Pekar's artistic credo.
    • 71 Metascore
    • 100 Roger Ebert
    David Gordon Green's second film, is too subtle and perceptive, and knows too much about human nature, to treat their lack of sexual synchronicity as if it supplies a plot.
    • 58 Metascore
    • 100 Roger Ebert
    Pitiless, bleak and despairing -- The Grey Zone refers to a world where everyone is covered with the gray ash of the dead, and it has been like that for so long they do not even notice anymore.
    • 89 Metascore
    • 100 Roger Ebert
    It is one of those rare movies that is not just about a story, or some characters, but about a whole universe of feeling.
    • 74 Metascore
    • 100 Roger Ebert
    Films like this are more useful than gung-ho capers like "Behind Enemy Lines." They help audiences understand and sympathize with the actual experiences of combat troops, instead of trivializing them into entertainments.
    • 86 Metascore
    • 100 Roger Ebert
    The film is a glorious experience to witness, not least because, knowing the technique and understanding how much depends on every moment, we almost hold our breath.
    • 85 Metascore
    • 100 Roger Ebert
    Max is played by Jean Gabin, named "the actor of the century" in a French poll, in Jacques Becker's Touchez Pas au Grisbi, a 1954 French crime film that uncannily points the way toward Jean-Pierre Melville's great "Bob Le Flambeur" the following year.
    • 69 Metascore
    • 100 Roger Ebert
    This is one of the best movies of the year.
    • 96 Metascore
    • 100 Roger Ebert
    No movie has had a greater impact on the way people looked. The music of course is immortal.
    • 83 Metascore
    • 100 Roger Ebert
    I have seen love scenes in which naked bodies thrash in sweaty passion, but I have rarely seen them more passionate than in this movie, where everyone is wrapped in layers of Victorian repression.

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