For 4,078 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 11.6 points higher than other critics. (0-100 point scale)

Roger Ebert's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 The Informant!
Lowest review score: 0 I Spit on Your Grave
Score distribution:
4,078 movie reviews
    • 79 Metascore
    • 100 Roger Ebert
    The best of three Star Wars films, and the most thought-provoking. After the space opera cheerfulness of the original film, this one plunges into darkness and even despair, and surrenders more completely to the underlying mystery of the story. It is because of the emotions stirred in Empire that the entire series takes on a mythic quality that resonates back to the first and ahead to the third. This is the heart.
    • 76 Metascore
    • 100 Roger Ebert
    A compelling thriller to begin with, but it adds the rare quality of having a heroine more fascinating than the story.
    • 79 Metascore
    • 100 Roger Ebert
    Nolte and Coburn are magnificent in this film, which is like an expiation or amends for abusive men. It is revealing to watch them in their scenes together--to see how they're able to use physical presence to sketch the history of a relationship.
    • 82 Metascore
    • 100 Roger Ebert
    What a magical movie.
    • 72 Metascore
    • 100 Roger Ebert
    A quiet movie, shaken from time to time by ripples of emotional turbulence far beneath the surface.
    • 86 Metascore
    • 100 Roger Ebert
    If you have never seen a single film by Agnes Varda, perhaps it is best to start with The Beaches of Agnes.
    • 57 Metascore
    • 100 Roger Ebert
    This movie is one of the most relentlessly nonstop action pictures ever made, with a virtuoso series of climactic sequences that must last an hour and never stop for a second. It's a roller-coaster ride, a visual extravaganza, a technical triumph, and a whole lot of fun.
    • 75 Metascore
    • 100 Roger Ebert
    Am I acting as an advocate in this review? Yes, I am. I believe that to be "impartial" and "balanced" on global warming means one must take a position like Gore's. There is no other view that can be defended.
    • 78 Metascore
    • 100 Roger Ebert
    Its most impressive accomplishment is to gather a bewildering labyrinth of facts and suspicions over a period of years, and make the journey through this maze frightening and suspenseful.
    • 84 Metascore
    • 100 Roger Ebert
    Broadcast News has a lot of interesting things to say about television. But the thing it does best is look into a certain kind of personality and a certain kind of relationship.
    • 76 Metascore
    • 100 Roger Ebert
    A voluptuary of a film, drunk on primary colors, caressing Penelope Cruz, using the devices of a Hitchcock to distract us with surfaces while the sinister uncoils beneath. As it ravished me, I longed for a freeze frame to allow me to savor a shot.
    • 81 Metascore
    • 100 Roger Ebert
    Bonnie and Clyde is a milestone in the history of American movies, a work of truth and brilliance. It is also pitilessly cruel, filled with sympathy, nauseating, funny, heartbreaking, and astonishingly beautiful.
    • 83 Metascore
    • 100 Roger Ebert
    But I'm making Welcome to the Dollhouse sound like some sort of grim sociological study, and in fact it's a funny, intensely entertaining film.
    • 83 Metascore
    • 100 Roger Ebert
    A perplexing and disturbing film of great effect.
    • 87 Metascore
    • 100 Roger Ebert
    The splendid cast embodies the characters so fully that the events actually seem to be happening to them, instead of unfolding from a screenplay.
    • 86 Metascore
    • 100 Roger Ebert
    The film is a glorious experience to witness, not least because, knowing the technique and understanding how much depends on every moment, we almost hold our breath.
    • 86 Metascore
    • 100 Roger Ebert
    A masterpiece, pure and simple, deep and true...The best film of the year.
    • 76 Metascore
    • 100 Roger Ebert
    A film that with quiet confidence creates a fragile magic.
    • 84 Metascore
    • 100 Roger Ebert
    The performances are crucial, because all of these characters have so completely internalized their world that they make it palpable, and themselves utterly convincing.
    • 61 Metascore
    • 100 Roger Ebert
    It is a great film about greatness, the story of the horse and the no less brave woman who had faith in him.
    • 83 Metascore
    • 100 Roger Ebert
    Jeff Bridges is a virtual certainty to win his first Oscar, after four nominations.
    • 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.
    • 60 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 59 Metascore
    • 100 Roger Ebert
    The work of a born filmmaker, able to summon apprehension out of thin air.
    • 80 Metascore
    • 100 Roger Ebert
    The movie is a great American document, but it's also entertaining. (Review of Original Release)
    • 90 Metascore
    • 100 Roger Ebert
    It is one of the year's best films.
    • 70 Metascore
    • 100 Roger Ebert
    It's a superb film -- funny, insightful and very wise about the realities of political life.
    • 93 Metascore
    • 100 Roger Ebert
    It is a surprisingly entertaining film - funny, wicked, sharp-tongued and devious. It does not solve the case, nor intend to. I am afraid it only intends to entertain.
    • 86 Metascore
    • 100 Roger Ebert
    One of the best films of the year.
    • 53 Metascore
    • 100 Roger Ebert
    The peculiar quality of Vanity Fair, which sets it aside from the Austen adaptations such as "Sense and Sensibility" and "Pride and Prejudice," is that it's not about very nice people. That makes them much more interesting.
    • 93 Metascore
    • 100 Roger Ebert
    A brilliant nightmare and like all nightmares it doesn't tell us half of what we want to know. (Review of Original Release)
    • 90 Metascore
    • 100 Roger Ebert
    The movie makes no attempt to psychoanalyze its Kit Carruthers, and there are no symbols to note or lessons to learn. What comes through more than anything is the enormous loneliness of the lives these two characters lived, together and apart.
    • 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.
    • 66 Metascore
    • 100 Roger Ebert
    As Soderbergh lovingly peels away veil after veil of deception, the film develops into an unexpected human comedy. Not that any of the characters are laughing.
    • 86 Metascore
    • 100 Roger Ebert
    Superman is a pure delight, a wondrous combination of all the old-fashioned things we never really get tired of: adventure and romance, heroes and villains, earthshaking special effects, and -- you know what else? Wit.
    • 72 Metascore
    • 100 Roger Ebert
    Keke Palmer, a young Chicago actress whose first role was as Queen Latifah's niece in "Barbershop 2," becomes an important young star with this movie. It puts her in Dakota Fanning and Thora Cross territory, and there's something about her poise and self-possession that hints she will grow up to be a considerable actress.
    • 73 Metascore
    • 100 Roger Ebert
    Has maturity and emotional depth: There are no cheap shots, nothing is thrown in for effect, realism is placed ahead of easy dramatic payoffs, and the audience grows deeply involved.
    • 76 Metascore
    • 100 Roger Ebert
    This profound and immensely touching film in only 75 perfect minutes achieves the profundity of an epic.
    • 80 Metascore
    • 100 Roger Ebert
    Junebug is a great film because it is a true film. It humbles other films that claim to be about family secrets and eccentricities. It understands that families are complicated and their problems are not solved during a short visit, just in time for the film to end. Families and their problems go on and on, and they aren't solved, they're dealt with.
    • 99 Metascore
    • 100 Roger Ebert
    This restored 35mm print, now in art theaters around the country, may be 37 years old, but it is the best foreign film of the year.
    • 67 Metascore
    • 100 Roger Ebert
    It is not a "dirty movie," and in fact takes spirituality and morality more seriously than most films do. And in the bad lieutenant, Keitel has given us one of the great screen performances in recent years.
    • 84 Metascore
    • 100 Roger Ebert
    What happens is that we get vested in the lives of these characters. That's rare in a lot of movies.
    • 69 Metascore
    • 100 Roger Ebert
    After seeing Kinyarwanda, I have a different kind of feeling about the genocide that took place in Rwanda in 1994. The film approaches it not as a story line but as a series of intense personal moments.
    • 85 Metascore
    • 100 Roger Ebert
    I can't single out a performance. This is a superb ensemble, conveying hat joy actors feel when hey know they're good in good material. This is not a traditional feature, but it's one of Spike Lee's best films.
    • 85 Metascore
    • 100 Roger Ebert
    Halloween is an absolutely merciless thriller...I would compare it to "Psycho."
    • Chicago Sun-Times
    • 92 Metascore
    • 100 Roger Ebert
    Cocteau, a poet and surrealist, was not making a "children's film" but was adapting a classic French tale that he felt had a special message after the suffering of World War II: Anyone who has an unhappy childhood may grow up to be a Beast.
    • 66 Metascore
    • 100 Roger Ebert
    Olivier Dahan's La Vie en Rose, one of the best biopics I've seen, tells Piaf's life story through the extraordinary performance of Marion Cotillard, who looks like the singer.
    • 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
    This is a movie to surrender yourself to. If you require logic, see something else. Mulholland Drive works directly on the emotions, like music.
    • 87 Metascore
    • 100 Roger Ebert
    McNamara speaks concisely and forcibly, rarely searching for a word, and he is not reciting boilerplate and old sound bites; there is the uncanny sensation that he is thinking as he speaks.
    • 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.
    • 72 Metascore
    • 100 Roger Ebert
    The film is inspirational and educational - and it is also entertaining, as movies must be before they can be anything else.
    • 79 Metascore
    • 100 Roger Ebert
    Is it real? Is this whole story real? I refuse to ask that question. Life of Pi is all real, second by second and minute by minute, and what it finally amounts to is left for every viewer to decide. I have decided it is one of the best films of the year.
    • 79 Metascore
    • 100 Roger Ebert
    The genius of the movie is the way is sidesteps all of the obvious cliches of the underlying story and makes itself fresh, observant, tough and genuinely moving.
    • 64 Metascore
    • 100 Roger Ebert
    There has never been a movie quite like Northfork… The movie is visionary and elegiac, more a fable than a story, and frame by frame, it looks like a portfolio of spaces so wide, so open, that men must wonder if they have a role beneath such indifferent skies.
    • 87 Metascore
    • 100 Roger Ebert
    It is a remarkable film, immediate, urgent, angry, poetic and stubbornly hopeful.
    • 77 Metascore
    • 100 Roger Ebert
    In an era when hundreds of lives are casually destroyed in action movies, here is an entire film in which one life is honored, and one death is avenged.
    • 79 Metascore
    • 100 Roger Ebert
    The strength of Kinsey is finally in the clarity it brings to its title character. It is fascinating to meet a complete original, a person of intelligence and extremes.
    • 76 Metascore
    • 100 Roger Ebert
    In the way it combines sports with human nature, it reminded me of another wonderful Indiana sports movie, "Breaking Away." It's a movie that is all heart.
    • 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?
    • 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.
    • 59 Metascore
    • 100 Roger Ebert
    One of those rare movies where you leave the theater having been surprised and entertained, and then start arguing.
    • 59 Metascore
    • 100 Roger Ebert
    This is pure filmmaking, elegant and slippery. I haven't had as much fun second-guessing a movie since "Mulholland Drive."
    • 76 Metascore
    • 100 Roger Ebert
    James Mangold's 3:10 to Yuma restores the wounded heart of the Western and rescues it from the morass of pointless violence.
    • 80 Metascore
    • 100 Roger Ebert
    Because their work is so varied, the director Winterbottom and Boyce, his frequent writer, are only now coming into focus as perhaps the most creative team in British film.
    • 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.
    • 84 Metascore
    • 100 Roger Ebert
    This is a painful movie to watch. But it is also exhilarating, as all good movies are, because we are watching the director and actors venturing beyond any conventional idea of what a modern movie can be about. Here there is no plot, no characters to identify with, no hope.
    • 84 Metascore
    • 100 Roger Ebert
    I am not British, was born 14 years before the subjects, and yet by now identify intensely with them, because some kinds of human experience -- teenage, work, marriage, illness are universal. You could make this series in any society.
    • 80 Metascore
    • 100 Roger Ebert
    A Bronx Tale is a very funny movie sometimes, and very touching at other times. It is filled with life and colorful characters and great lines of dialogue, and De Niro, in his debut as a director, finds the right notes as he moves from laughter to anger to tears. What's important about the film is that it's about values.
    • 63 Metascore
    • 100 Roger Ebert
    Everything about the film -- its casting, its filming, its release -- is daring and innovative.
    • 87 Metascore
    • 100 Roger Ebert
    It brings the fantastic into our everyday lives; it delights in showing us the reaction of the man on the street to Superman's latest stunt.
    • 91 Metascore
    • 100 Roger Ebert
    The Queen is a spellbinding story of opposed passions -- of Elizabeth's icy resolve to keep the royal family separate and aloof from the death of the divorced Diana, who was legally no longer a royal, and of Blair's correct reading of the public mood.
    • 85 Metascore
    • 100 Roger Ebert
    A movie that is not only ingenious and entertaining, but liberating, because we can sense the story isn't going to be twisted into conformity with some stupid formula.
    • 66 Metascore
    • 100 Roger Ebert
    The film is pitch-perfect in its decor, music, clothes, cars, language and values. It takes place during those heady years between the introduction of the Pill and the specter of AIDS, when men shaped as adolescents by Playboy in the 1950s now found some of their fantasies within reach.

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