For 4,115 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 10.2 points higher than other critics. (0-100 point scale)

Roger Ebert's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 Mr. Death: The Rise and Fall of Fred A. Leuchter, Jr.
Lowest review score: 0 The Life of David Gale
Score distribution:
4115 movie reviews
    • 73 Metascore
    • 100 Roger Ebert
    Scorsese tells his story with the energy and pacing he's famous for, and with a wealth of little details that feel just right.
    • 83 Metascore
    • 100 Roger Ebert
    Up in the Air takes the trust people once had in their jobs and pulls out the rug. It is a film for this time.
    • 73 Metascore
    • 100 Roger Ebert
    Here is a searing film of human tragedy.
    • 92 Metascore
    • 100 Roger Ebert
    The movie is bursting with life, energy, fears, frustrations and the quick laughter of a classroom hungry for relief.
    • 86 Metascore
    • 100 Roger Ebert
    The Interrupters is based on a much-acclaimed article in the New York Times Magazine by Alex Kotlowitz, who followed a period of intense violence in Chicago. He joined with James to co-produce the film. It is difficult to imagine the effort, day after day for a year, of following this laborious, heroic and so often fruitless volunteer work.
    • 65 Metascore
    • 100 Roger Ebert
    Kristen Dunst is pitch-perfect in the title role.
    • 76 Metascore
    • 100 Roger Ebert
    Here is a rare movie that begins by telling us how it will end and is about how the hero has no idea why.
    • 79 Metascore
    • 100 Roger Ebert
    A great American film.
    • 77 Metascore
    • 100 Roger Ebert
    This is one of the year's best films.
    • 73 Metascore
    • 100 Roger Ebert
    A movie you cannot turn away from; it is so pitiless and uncompromising, so filled with pathos and disregarded innocence, that it is a record of those things we pray to be delivered from.
    • 71 Metascore
    • 100 Roger Ebert
    In its quiet, dark, claustrophobic way, this is one of the best films of the year.
    • 90 Metascore
    • 100 Roger Ebert
    One of a very few films that wants to do something unexpected and challenging, and succeeds even beyond its ambitions. See this film. Then shut up about it.
    • 94 Metascore
    • 100 Roger Ebert
    A great film, an intelligent film, a film shot clearly so that we know exactly who everybody is and where they are and what they’re doing and why.
    • 79 Metascore
    • 100 Roger Ebert
    Deep movie emotions for me usually come not when the characters are sad, but when they are good. You will see what I mean.
    • 73 Metascore
    • 100 Roger Ebert
    Hitchcock called his most familiar subject "The Innocent Man Wrongly Accused." Jarecki pumps up the pressure here by giving us a Guilty Man Accurately Accused, and that's what makes the film so ingeniously involving.
    • 74 Metascore
    • 100 Roger Ebert
    Into the Abyss may be the saddest film Werner Herzog has ever made. It regards a group of miserable lives, and in finding a few faint glimmers of hope only underlines the sadness.
    • 67 Metascore
    • 100 Roger Ebert
    Last Days is a definitive record of death by gradual drug exhaustion. After the chills and thrills of "Sid & Nancy" and "The Doors," here is a movie that sees how addicts usually die, not with a bang but a whimper. If the dead had it to do again, they might wish that, this time, they'd at least been conscious enough to realize what was happening.
    • 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.
    • 68 Metascore
    • 100 Roger Ebert
    Sophie's Choice is a fine, absorbing, wonderfully acted, heartbreaking movie.
    • 74 Metascore
    • 100 Roger Ebert
    It is flawlessly crafted, intelligently constructed, strongly acted and spellbinding.
    • 83 Metascore
    • 100 Roger Ebert
    The story of herself (Varda), a woman whose life has consisted of moving through the world with the tools of her trade, finding what is worth treasuring.
    • 95 Metascore
    • 100 Roger Ebert
    Beauty and the Beast reaches back to an older and healthier Hollywood tradition in which the best writers, musicians and filmmakers are gathered for a project on the assumption that a family audience deserves great entertainment, too.
    • 89 Metascore
    • 100 Roger Ebert
    Here is one of the most entertaining films in many a moon, a film that charms because of its story, its performances and because of the sly way it plays with being silent and black and white.
    • 62 Metascore
    • 100 Roger Ebert
    The film is extraordinarily beautiful. Bertolucci is one of the great painters of the screen.
    • 79 Metascore
    • 100 Roger Ebert
    An amazing film. It is deep, rich, human. It is not about rich and poor, but about old and new. It is about the ancient war between tradition and feeling.
    • 79 Metascore
    • 100 Roger Ebert
    This is a wonderful film. There isn't a thing that I would change.
    • 85 Metascore
    • 100 Roger Ebert
    It is about the actual lives of refugees, who lack the luxury of opinions because they are preoccupied with staying alive in a world that has no place for them.
    • 69 Metascore
    • 100 Roger Ebert
    As for myself, as Leticia rejoined Hank in the last shot of the movie, I was thinking about her as deeply and urgently as about any movie character I can remember.
    • 82 Metascore
    • 100 Roger Ebert
    I have seen Waking Life three times now. I want to see it again -- not to master it, or even to remember it better, -- but simply to experience all of these ideas, all of this passion, the very act of trying to figure things out.
    • 89 Metascore
    • 100 Roger Ebert
    No finer film has ever been made about organized crime - not even "The Godfather."

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