For 4,148 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 9.8 points higher than other critics. (0-100 point scale)

Roger Ebert's Scores

  • Movies
  • TV
Average review score: 72
Highest review score: 100 Footnote
Lowest review score: 0 Wolf Creek
Score distribution:
4148 movie reviews
    • 68 Metascore
    • 100 Roger Ebert
    One of the best police movies in recent years, a virtuoso fusion of performances and often startling action.
    • 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.
    • 84 Metascore
    • 100 Roger Ebert
    It "explains" nothing but feels everything. It reminds me of two other films: Bresson's "Mouchette," about a poor girl victimized by a village, and Karen Gehre's "Begging Naked," shown at Ebertfest this year, about a woman whose art is prized even as she lives in Central Park.
    • 64 Metascore
    • 100 Roger Ebert
    A movie that you might want to see for no other reason than because it exists. There will never be another like it.
    • 55 Metascore
    • 100 Roger Ebert
    An exhilarating visual experience and proves for the third time he's (Zemeck) is one of the few directors who knows what he's doing with 3-D.
    • 61 Metascore
    • 100 Roger Ebert
    Here is a gripping film with the focus of a Japanese drama, an impenetrable character to equal Alain Delon's in "Le Samourai," by Jean-Pierre Melville.
    • 82 Metascore
    • 100 Roger Ebert
    It's one of the smartest and most merciless comedies to come along in a while. It centers on an area of fairly narrow interest, but in its study of human nature, it is deep and takes no prisoners.
    • 86 Metascore
    • 100 Roger Ebert
    There are scenes as true as movies can make them, and even when the story develops thriller elements, they are redeemed, because the movie isn't about what happens, but about why.
    • 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.
    • 83 Metascore
    • 100 Roger Ebert
    What a bewilderingly brilliant and entertaining movie this is.
    • 80 Metascore
    • 100 Roger Ebert
    Juan Jose Campanella is the writer-director, and here is a man who creates a complete, engrossing, lovingly crafted film. He is filled with his stories. The Secret in Their Eyes is a rebuke to formula screenplays. We grow to know the characters, and the story pays due respect to their complexities and needs.
    • 84 Metascore
    • 100 Roger Ebert
    Ballast inexorably grows and deepens and gathers power and absorbs us. I always say I hardly ever cry at sad films, but I sometimes do, just a little, at films about good people.
    • 84 Metascore
    • 100 Roger Ebert
    High Hopes is an alive and challenging film, one that throws our own assumptions and evasions back at us. Leigh sees his characters and their lifestyles so vividly, so mercilessly and with such a sharp satirical edge, that the movie achieves a neat trick: We start by laughing at the others, and end by feeling uncomfortable about ourselves.
    • 75 Metascore
    • 100 Roger Ebert
    Here is a movie that knows its women, listens to them, doesn't give them a pass, allows them to be real: It's a rebuke to the shallow "Ya-Ya Sisterhood."
    • 84 Metascore
    • 100 Roger Ebert
    This is Mike Leigh's funniest film since "Life Is Sweet" (1991). Of course he hasn't ever made a completely funny film, and Happy-Go-Lucky has scenes that are not funny, not at all.
    • 88 Metascore
    • 100 Roger Ebert
    Up
    This is another masterwork from Pixar, which is leading the charge in modern animation.
    • 96 Metascore
    • 100 Roger Ebert
    The movie plays like a textbook for directors interested in how lens choices affect mood.
    • 87 Metascore
    • 100 Roger Ebert
    The documentary is an uncommon meeting between Treadwell's loony idealism, and Herzog's bleak worldview.
    • 45 Metascore
    • 100 Roger Ebert
    Larry Clark's Bully calls the bluff of movies that pretend to be about murder but are really about entertainment. His film has all the sadness and shabbiness, all the mess and cruelty and thoughtless stupidity of the real thing.
    • 78 Metascore
    • 100 Roger Ebert
    Putty Hill makes no statement. It looks. It looks with as much perception and sympathy as it is possible for a film to look. It is surprisingly effective.
    • 39 Metascore
    • 100 Roger Ebert
    Campbell's performance is carnal, verbally facile, physically uninhibited and charged with intelligence.
    • 100 Metascore
    • 100 Roger Ebert
    The wedding sequence... is a virtuoso stretch of filmmaking: Coppola brings his large cast onstage so artfully that we are drawn at once into the Godfather's world.
    • 72 Metascore
    • 100 Roger Ebert
    This is a great act of filmmaking and acting. I don't believe I would be able to see it twice.
    • 76 Metascore
    • 100 Roger Ebert
    In America is not unsentimental about its new arrivals (the movie has a warm heart and frankly wants to move us), but it is perceptive about the countless ways in which it is hard to be poor and a stranger in a new land.
    • 63 Metascore
    • 100 Roger Ebert
    I liked these characters precisely because they were not designed to be likable -- or, more precisely, because they were likable in spite of being exasperating, unorganized, self-destructive and impervious to good advice.
    • 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]
    • 83 Metascore
    • 100 Roger Ebert
    The movie is funny, but it's more than funny, it's exhilarating.
    • 89 Metascore
    • 100 Roger Ebert
    A powerful but quiet film, constructed of hidden thoughts and secret desires.
    • 74 Metascore
    • 100 Roger Ebert
    It is a spellbinding enigma, and one of the damnedest films Morris has ever made.
    • 80 Metascore
    • 100 Roger Ebert
    The Band’s Visit has not provided any of the narrative payoffs we might have expected, but has provided something more valuable: An interlude involving two “enemies,” Arabs and Israelis, that shows them both as only ordinary people with ordinary hopes, lives and disappointments. It has also shown us two souls with rare beauty.

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