For 4,072 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 11.9 points higher than other critics. (0-100 point scale)

Roger Ebert's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 Happiness
Lowest review score: 0 Slackers
Score distribution:
4,072 movie reviews
    • 79 Metascore
    • 100 Roger Ebert
    You hire an actor for his strengths, and Downey would not be strong as a one-dimensional mighty-man. He is strong because he is smart, quick and funny, and because we sense his public persona masks deep private wounds. By building on that, Favreau found his movie, and it's a good one.
    • 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.
    • 85 Metascore
    • 100 Roger Ebert
    The best approach is to begin with the characters, because the wonderful, sad, touching The Edge of Heaven is more about its characters than about its story
    • 82 Metascore
    • 100 Roger Ebert
    "Batman" isn't a comic book anymore. Christopher Nolan's The Dark Knight is a haunted film that leaps beyond its origins and becomes an engrossing tragedy. It creates characters we come to care about. That's because of the performances, because of the direction, because of the writing, and because of the superlative technical quality of the entire production.
    • 80 Metascore
    • 100 Roger Ebert
    It is a poem of oddness and beauty.
    • 84 Metascore
    • 100 Roger Ebert
    (1) Shot for shot, Maddin can be as surprising and delightful as any filmmaker has ever been, and (2) he is an acquired taste, but please, sir, may I have some more?
    • 89 Metascore
    • 100 Roger Ebert
    Man on Wire is about the vanquishing of the towers by bravery and joy, not by terrorism.
    • 82 Metascore
    • 100 Roger Ebert
    Sometimes two performances come along that are so perfectly matched that no overt signals are needed to show how the characters feel about each other. That's what happens between Melissa Leo and Misty Upham in Frozen River.
    • 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.
    • 56 Metascore
    • 100 Roger Ebert
    W.
    W., a biography of President Bush, is fascinating. No other word for it.
    • 47 Metascore
    • 100 Roger Ebert
    I find movies like this alive and provoking, and I'm exhilarated to have my thinking challenged at every step of the way.
    • 83 Metascore
    • 100 Roger Ebert
    The documentary shows outrageous behavior, none more so than when they and many others are directed to a nearby Navy base for refuge.
    • 80 Metascore
    • 100 Roger Ebert
    Frank Langella and Michael Sheen do not attempt to mimic their characters, but to embody them.
    • 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.
    • 82 Metascore
    • 100 Roger Ebert
    A friend asked: "Wouldn't you love to attend a wedding like that?" In a way, I felt I had. Yes, I began to feel absorbed in the experience. A few movies can do that, can slip you out of your mind and into theirs.
    • 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.
    • 67 Metascore
    • 100 Roger Ebert
    I think you have to see Charlie Kaufman's Synecdoche, New York twice. I watched it the first time and knew it was a great film and that I had not mastered it. The second time because I needed to. The third time because I will want to.
    • 86 Metascore
    • 100 Roger Ebert
    This is a breathless, exciting story, heartbreaking and exhilarating at the same time.
    • 84 Metascore
    • 100 Roger Ebert
    Sean Penn never tries to show Harvey Milk as a hero, and never needs to. He shows him as an ordinary man, kind, funny, flawed, shrewd, idealistic, yearning for a better world.
    • 68 Metascore
    • 100 Roger Ebert
    Doubt has exact and merciless writing, powerful performances and timeless relevance. It causes us to start thinking with the first shot, and we never stop. Think how rare that is in a film.
    • 69 Metascore
    • 100 Roger Ebert
    This film is so good it is devastating.
    • 81 Metascore
    • 100 Roger Ebert
    This is Rourke doing astonishing physical acting.
    • 92 Metascore
    • 100 Roger Ebert
    The movie is bursting with life, energy, fears, frustrations and the quick laughter of a classroom hungry for relief.
    • 79 Metascore
    • 100 Roger Ebert
    What the film is really about is people who see themselves and their values as an organic whole. There are no pious displays here. No sanctimony, no preaching. Never even the word "religion." Just Johan, Esther and Marianne, all doing their best.
    • 88 Metascore
    • 100 Roger Ebert
    Up
    This is another masterwork from Pixar, which is leading the charge in modern animation.
    • 87 Metascore
    • 100 Roger Ebert
    Gomorrah looks grimy and sullen, and has no heroes, only victims. That is its power.
    • 41 Metascore
    • 100 Roger Ebert
    Knowing is among the best science-fiction films I've seen -- frightening, suspenseful, intelligent and, when it needs to be, rather awesome.
    • 80 Metascore
    • 100 Roger Ebert
    It is a great story of love and hope, told tenderly and without any great striving for effect.
    • 77 Metascore
    • 100 Roger Ebert
    It contains risk, violence, a little romance, even fleeting moments of humor, but most of all, it sees what danger and heartbreak are involved. It is riveting from start to finish.
    • 89 Metascore
    • 100 Roger Ebert
    Wherever you live, when this film opens, it will be the best film in town.

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