For 4,035 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 12.3 points higher than other critics. (0-100 point scale)

Roger Ebert's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 The Proposition
Lowest review score: 0 Slackers
Score distribution:
4,035 movie reviews
    • 84 Metascore
    • 100 Roger Ebert
    These astronauts are still alive, but as long as mankind survives, their journeys will be seen as the turning point -- to what, it is still to be seen.
    • 55 Metascore
    • 100 Roger Ebert
    Romance & Cigarettes is the real thing, a film that breaks out of Hollywood jail with audacious originality, startling sexuality, heartfelt emotions, and an anarchic liberty. The actors toss their heads and run their mouths like prisoners let loose to race free.
    • 56 Metascore
    • 100 Roger Ebert
    Here is a bold, beautiful, visually enchanting musical where we walk INTO the theater humming the songs.
    • 82 Metascore
    • 100 Roger Ebert
    The actors and the characters merge and form a reality above and apart from the story, and the result is a film that takes us beyond crime and London and the Russian mafia and into the mystifying realms of human nature.
    • 65 Metascore
    • 100 Roger Ebert
    Paul Haggis' In the Valley of Elah is built on Tommy Lee Jones' persona, and that is why it works so well. The same material could have been banal or routine with an actor trying to be "earnest" and "sincere."
    • 73 Metascore
    • 100 Roger Ebert
    Spellbinding.
    • 81 Metascore
    • 100 Roger Ebert
    With access to remarkable archival footage, old TV shows, home movies and the family photo album, Brown weaves together the story of the Seegers with testimony by admirers who represent his influence and legacy.
    • 82 Metascore
    • 100 Roger Ebert
    I don't know what vast significance Michael Clayton has (it involves deadly pollution but isn't a message movie). But I know it is just about perfect as an exercise in the genre.
    • 55 Metascore
    • 100 Roger Ebert
    Rendition is valuable and rare. As I wrote from Toronto: "It is a movie about the theory and practice of two things: torture and personal responsibility. And it is wise about what is right, and what is wrong."
    • 84 Metascore
    • 100 Roger Ebert
    A superb crime melodrama.
    • 76 Metascore
    • 100 Roger Ebert
    This is an engrossing story, told smoothly and well, and Russell Crowe's contribution is enormous.
    • 91 Metascore
    • 100 Roger Ebert
    Many of the scenes in No Country for Old Men are so flawlessly constructed that you want them to simply continue, and yet they create an emotional suction drawing you to the next scene. Another movie that made me feel that way was "Fargo." To make one such film is a miracle. Here is another.
    • 78 Metascore
    • 100 Roger Ebert
    The movie is carefully modulated to draw us deeper and deeper into the situation, and uses no contrived plot devices to superimpose plot jolts on what is, after all, a story involving four civilized people who are only trying, each in a different way, to find happiness.
    • 92 Metascore
    • 100 Roger Ebert
    At the end we are left with the reflection that human consciousness is the great miracle of evolution, and all the rest (sight, sound, taste, hearing, smell, touch) are simply a toolbox that consciousness has supplied for itself.
    • 90 Metascore
    • 100 Roger Ebert
    After Hours is a brilliant film that is so original, so particular, that we are uncertain from moment to moment exactly how to respond to it. The style of the film creates, in us, the same feeling that the events in the film create in the hero. Interesting.
    • 81 Metascore
    • 100 Roger Ebert
    A fresh, quirky, unusually intelligent comedy.
    • 85 Metascore
    • 100 Roger Ebert
    This is one of the year's best films, a certain best picture nominee.
    • 51 Metascore
    • 100 Roger Ebert
    A darker, deeper fantasy epic than the "Rings" trilogy, "The Chronicles of Narnia" or the "Potter" films. It springs from the same British world of quasi-philosophical magic, but creates more complex villains and poses more intriguing questions. As a visual experience, it is superb. As an escapist fantasy, it is challenging.
    • 61 Metascore
    • 100 Roger Ebert
    Like "House of Sand and Fog" and "Man Push Cart," it helps us to understand that the newcomers among us come from somewhere and are somebody.
    • 65 Metascore
    • 100 Roger Ebert
    This is a film that is affirming and inspiring and re-creates the stories of a remarkable team and its coach.
    • 90 Metascore
    • 100 Roger Ebert
    While so many films about coming of age involve manufactured dilemmas, here is one about a woman who indeed does come of age, and magnificently.
    • 83 Metascore
    • 100 Roger Ebert
    Helena Bonham Carter may be Burton's inamorata, but apart from that, she is perfectly cast, not as a vulgar fishwife type but as a petite beauty with dark, sad eyes and a pouting mouth and a persistent fantasy that she and the barber will someday settle by the seaside. Not bloody likely.
    • 82 Metascore
    • 100 Roger Ebert
    This movie does not describe the America I learned about in civics class, or think of when I pledge allegiance to the flag. Yet I know I will get the usual e-mails accusing me of partisanship, bias, only telling one side, etc. What is the other side? See this movie, and you tell me.
    • 97 Metascore
    • 100 Roger Ebert
    This is a powerful film and a stark visual accomplishment, but no thanks to Gabita (Laura Vasiliu). The driving character is her roommate Otilia (Anamaria Marinca), who does all the heavy lifting.
    • 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.
    • 67 Metascore
    • 100 Roger Ebert
    An endlessly surprising, very dark, human comedy, with a plot that cannot be foreseen but only relished.
    • 83 Metascore
    • 100 Roger Ebert
    Now we have an American film with the raw power of “City of God” or “Pixote,” a film that does something unexpected, and inspired, and brave.
    • 76 Metascore
    • 100 Roger Ebert
    Here is a tense and sorrowful film where common sense struggles with blood lust.
    • 76 Metascore
    • 100 Roger Ebert
    May be the most intimate documentary ever made about a live rock 'n' roll concert. Certainly it has the best coverage of the performances onstage.
    • 70 Metascore
    • 100 Roger Ebert
    Disturbing, analytical and morose. This is not a "political" film nor yet another screed about the Bush administration or the war in Iraq. It is driven simply, powerfully, by the desire to understand those photographs.