For 4,125 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 Titanic
Lowest review score: 0 Wolf Creek
Score distribution:
4125 movie reviews
    • 74 Metascore
    • 100 Roger Ebert
    Oldboy is a powerful film not because of what it depicts, but because of the depths of the human heart which it strips bare.
    • 66 Metascore
    • 100 Roger Ebert
    This film is true about human nature. It is not universal, but within its particular focus, it is unrelenting.
    • 86 Metascore
    • 100 Roger Ebert
    Only a few films are transcendent, and work upon our minds and imaginations like music or prayer or a vast belittling landscape...Alone among science-fiction movies, 2001 is not concerned with thrilling us, but with inspiring our awe.
    • 67 Metascore
    • 100 Roger Ebert
    A remarkable film.
    • 74 Metascore
    • 100 Roger Ebert
    Inception does a difficult thing. It is wholly original, cut from new cloth, and yet structured with action movie basics so it feels like it makes more sense than (quite possibly) it does.
    • 78 Metascore
    • 100 Roger Ebert
    Body Heat is good enough to make film noir play like we hadn't seen it before.
    • 95 Metascore
    • 100 Roger Ebert
    The actors, as sometimes happens, create those miracles that can endow a film with conviction. Moadi and Hatami, as husband and wife, succeed in convincing us their characters are acting from genuine motives.
    • 64 Metascore
    • 100 Roger Ebert
    In its heedless energy and joy, it reminded me of how I felt the first time I saw "Raiders of the Lost Ark." It's like a film that escaped from the imagination directly onto the screen, without having to pass through reality along the way.
    • 80 Metascore
    • 100 Roger Ebert
    The funniest movie I have seen in a long time.
    • 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.
    • 61 Metascore
    • 100 Roger Ebert
    This is a brave, layered film that challenges the wisdom of victory at any price. Both of its central characters would slip easily into conventional plot formulas, but Bahrani looks deeply into their souls and finds so much more.
    • 68 Metascore
    • 100 Roger Ebert
    As a portrait of a deteriorating state of mind, We Need to Talk About Kevin is a masterful film.
    • 93 Metascore
    • 100 Roger Ebert
    A few great directors have the ability to draw us into their dream world, into their personalities and obsessions and fascinate us with them for a short time. This is the highest level of escapism the movies can provide for us.
    • 65 Metascore
    • 100 Roger Ebert
    Carl Franklin's film is true to the tone and spirit of the book. It is patient and in no hurry. It allows a balanced eye for the people in its hero's family who tug him one way and another.
    • 82 Metascore
    • 100 Roger Ebert
    It is a full-bodied silent film of the sort that might have been made by the greatest directors of the 1920s, if such details as the kinky sadomasochism of this film's evil stepmother could have been slipped past the censors.
    • 54 Metascore
    • 100 Roger Ebert
    The performance by Flora Cross is haunting in its seriousness. She doesn't act out; she acts in.
    • 89 Metascore
    • 100 Roger Ebert
    It is a luxury to be enveloped in a good film.
    • 90 Metascore
    • 100 Roger Ebert
    Seductive and beautiful, cynical and twisted, and one of the best films of the year.
    • 77 Metascore
    • 100 Roger Ebert
    Bernardo Bertolucci's Last Tango in Paris is one of the great emotional experiences of our time.
    • 84 Metascore
    • 100 Roger Ebert
    Julianne Moore, Dennis Quaid and Dennis Haysbert are called on to play characters whose instincts are wholly different from their own. By succeeding, they make their characters real, instead of stereotypes.
    • 69 Metascore
    • 100 Roger Ebert
    Kill Bill: Volume 1 shows Quentin Tarantino so effortlessly and brilliantly in command of his technique that he reminds me of a virtuoso violinist racing through "Flight of the Bumble Bee" -- or maybe an accordion prodigy setting a speed record for "Lady of Spain."
    • 69 Metascore
    • 100 Roger Ebert
    This film is so good it is devastating.
    • 78 Metascore
    • 100 Roger Ebert
    The affirmation at the end of the film is so joyous that this is one of the few movies in a long time that inspires tears of happiness, and earns them. The Color Purple is the year's best film.
    • 88 Metascore
    • 100 Roger Ebert
    Once is the kind of film I've been pestered about ever since I started reviewing again. People couldn't quite describe it, but they said I had to see it. I had to. Well, I did. They were right.
    • 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."
    • 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.
    • 69 Metascore
    • 100 Roger Ebert
    By now, everyone knows who wins, but the scenes before the fight set us up for it so completely, so emotionally, that when it's over we've had it. We're drained.
    • 70 Metascore
    • 100 Roger Ebert
    Harrelson is an ideal actor for the role. Especially in tensely wound-up movies like this, he implies that he's looking at everything and then watching himself looking.
    • 68 Metascore
    • 100 Roger Ebert
    It is more of a wonderment, lolling in its enchanting images--original, delightful and funny.
    • 56 Metascore
    • 100 Roger Ebert
    It's a compelling visceral film -- sound, images and characters combined into a decidedly odd visual experience that evokes the feel of a graphic novel. It seems charged from within by its power as a fable; we sense it’s not interested in a plot so much as with the dilemma of functioning in a world losing hope.

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