For 4,306 reviews, this critic has graded:
  • 74% higher than the average critic
  • 2% same as the average critic
  • 24% lower than the average critic
On average, this critic grades 9.6 points higher than other critics. (0-100 point scale)

Roger Ebert's Scores

  • Movies
  • TV
Average review score: 72
Highest review score: 100 North Country
Lowest review score: 0 The Life of David Gale
Score distribution:
4306 movie reviews
    • 53 Metascore
    • 50 Roger Ebert
    The movie is too pat and practiced to really be convincing, and the progress of Ariel's relationships with the two grumps seems dictated mostly by the needs of the screenplay. But Matthau and Lemmon are fun to see together, if for no other reason than just for the essence of their beings.
    • 16 Metascore
    • 50 Roger Ebert
    Has an intriguing cast, a director who knows how to use his camera and a lot of sly humor. Shame about the story. When you see this many of the right elements in a lame movie, you wonder how close they came to making a better one.
    • 49 Metascore
    • 50 Roger Ebert
    It's fitfully funny but never really takes off. Out of the corners of our eyes we glimpse the missed opportunities for some real satirical digging.
    • 66 Metascore
    • 50 Roger Ebert
    It is admirable and well-made, but unutterably depressing and unredeemed by any glimmer of hope.
    • 56 Metascore
    • 50 Roger Ebert
    The screenplay by Kaufman, Crichton and Michael Backes is not about much of anything important, and Connery's deep penetrating wisdom takes away some of the suspense: If he knows everything that's going to happen, why keep us in the dark?
    • 48 Metascore
    • 50 Roger Ebert
    Timecop, a low-rent "Terminator," is the kind of movie that is best not thought about at all, for that way madness lies.
    • 37 Metascore
    • 50 Roger Ebert
    I won't tell you I didn't enjoy parts of Bad Company, because I did. But the enjoyment came at moments well-separated by autopilot action scenes and stunt sequences that outlived their interest.
    • 49 Metascore
    • 50 Roger Ebert
    It looks good, it moves quickly and it is often a jolly good time. As mindless swashbuckling in a well-designed production, it can't be faulted. The less you know about the British Empire and human nature, the more you will like it, but then that can be said of so many movies.
    • 43 Metascore
    • 50 Roger Ebert
    The movie has elements of the genre and lacks only pacing and plausibility. You wait through scenes that unfold with maddening deliberation, hoping for a payoff--and when it comes, you feel cheated.
    • 44 Metascore
    • 50 Roger Ebert
    Here is an exercise in deliberate vulgarity, gross excess, and the pornography of violence, not to forget garden variety pornography. You get your money's worth.
    • 62 Metascore
    • 50 Roger Ebert
    All of the cliches are in the right places, most of the gags pay off and there are moments of real amusement as the Australian cowboy wanders around Manhattan as a naive sightseer. The problem is that there's not one moment of chemistry between the two stars.
    • 62 Metascore
    • 50 Roger Ebert
    Meryl Streep is indeed poised and imperious as Miranda, and Anne Hathaway is a great beauty who makes a convincing career girl. I liked Stanley Tucci, too, as Nigel... But I thought the movie should have reversed the roles played by Grenier and Baker. Grenier comes across not like the old boyfriend but like the slick New York writer, and Baker seems the embodiment of Midwestern sincerity.
    • 53 Metascore
    • 50 Roger Ebert
    Parables are stories about other people that help us live our own lives. The problem with the French film Ricky is that the lesson of the parable is far from clear, and nobody is likely to encounter this situation in his own life.
    • 34 Metascore
    • 50 Roger Ebert
    Valentine's Day is being marketed as a Date Movie. I think it's more of a First-Date Movie. If your date likes it, do NOT date that person again. And if you like it, there may not be a second date.
    • 39 Metascore
    • 50 Roger Ebert
    I don't think Fat Albert is up to speed; in its meandering, low-key way, it seems destined more for a future on de-ved, returning to the video world where the characters say they feel more at home.
    • 33 Metascore
    • 50 Roger Ebert
    Isn't bad so much as jumbled...You get the sense of too much input, too many bright ideas, too many scenes that don't belong in the same movie.
    • 55 Metascore
    • 50 Roger Ebert
    A clunky Western that tries so hard to be Politically Correct that although young women are kidnapped by Indians to be sold into prostitution in Mexico, they are never molested by their captors.
    • 49 Metascore
    • 50 Roger Ebert
    My attention was held for the first act or so. Then any attempt at realism was abandoned, and it became clear that the house, and the movie containing it, were devices to manufacture methodical thrills. The explanation, if that's what it was, seemed contrived and unconvincing.
    • 31 Metascore
    • 50 Roger Ebert
    All heart and has the best intentions in the world, but what a bore. It's a beat slower than it should be, it makes its points laboriously, and the plot surprise would be obvious even if I hadn't seen the same device used in exactly the same way earlier this year in "Chasing Liberty."
    • 54 Metascore
    • 50 Roger Ebert
    All of this material, written by Seinfeld and writers associated with his television series, tries hard, but never really takes off.
    • 44 Metascore
    • 50 Roger Ebert
    It's a shame the plot is so contrived, because parts of this movie are really pretty good.
    • 46 Metascore
    • 50 Roger Ebert
    The movie is pleasant, sedate, subdued and sweet, but there is not a moment of suspense in it.
    • 45 Metascore
    • 50 Roger Ebert
    The quality of the acting is so much better than the material deserves.
    • 40 Metascore
    • 50 Roger Ebert
    Nothing here about human nature. No personalities beyond those hauled in via typecasting. No lessons to learn. No joy to be experienced. Just mayhem, noise and pretty pictures.
    • 44 Metascore
    • 50 Roger Ebert
    A sweet film, mildly pleasant to watch, but it's not worth the trip or even a detour.
    • 43 Metascore
    • 50 Roger Ebert
    Individual scenes feel authentic, but the story tries to build bridges between loose ends.
    • 43 Metascore
    • 50 Roger Ebert
    A seriously confused film that makes three or four passes at being a better one and doesn't complete any of them.
    • 29 Metascore
    • 50 Roger Ebert
    Do you like this sort of rom-com? It's a fair example of its type, not good, but competent.
    • 55 Metascore
    • 50 Roger Ebert
    Working within the limitations of the star rating system, I give four stars to the subjects of this movie, and two stars to the way they have been boiled down into cute pictures and sound bites.
    • 66 Metascore
    • 50 Roger Ebert
    But the second act is pandering and the third is trickery, and whatever Fincher thinks the message is, that's not what most audience members will get.
    • 46 Metascore
    • 50 Roger Ebert
    Jim Carrey works the premise for all it's worth, but it doesn't allow him to bust loose and fly.
    • 56 Metascore
    • 50 Roger Ebert
    "Kolya" was as emotionally authentic and original as Dark Blue World is derivative and not compelling.
    • 29 Metascore
    • 50 Roger Ebert
    Watching Just My Luck, I wished I were a teenage girl, not for any perverse reason but because then I might have enjoyed it a lot more.
    • 70 Metascore
    • 50 Roger Ebert
    Gets off to a start that's so charming it never lives it down. The movie is all anticlimax once we realize it's going to be about gimmicks, not characters.
    • 52 Metascore
    • 50 Roger Ebert
    Poignancy. Lessons to be learned. Speeches to be made. Lost marbles to be rediscovered. Tears to be shed. The conclusion of Hook would be embarrassingly excessive even for a movie in which something of substance had gone before.
    • 69 Metascore
    • 50 Roger Ebert
    Not a very entertaining movie; it's a long slog unless you're fascinated by the undercurrents.
    • 46 Metascore
    • 50 Roger Ebert
    I am not a mind-reader and cannot be sure, but I think a lot of children are going to look at this movie with perplexity and distaste. It's just not much fun.
    • 26 Metascore
    • 50 Roger Ebert
    A pointless exercise in "shocking" behavior.
    • 68 Metascore
    • 50 Roger Ebert
    El Crimen Perfecto has energy, color, spirit and lively performances, but what it does not have are very many laughs.
    • 45 Metascore
    • 50 Roger Ebert
    Mad City might have been more fun if it had added that extra spin--if it had attacked the audience as well as the perpetrators. As it is, it's too predictable.
    • 73 Metascore
    • 50 Roger Ebert
    So enigmatic, oblique and meandering that it's like coded religious texts that requires monks to decipher.
    • 51 Metascore
    • 50 Roger Ebert
    All of this promising material is dealt with on that level where characters are not quite allowed to be as perceptive and intelligent as real people might be in the same circumstances.
    • 58 Metascore
    • 50 Roger Ebert
    If you have seen ads or trailers suggesting that horrible things pounce on people, and they make you think you want to see this movie, you will be correct. It is a competently made Horrible Things Pouncing on People Movie. If you think Frank Darabont has equaled the "Shawshank" and "Green Mile" track record, you will be sadly mistaken.
    • 34 Metascore
    • 50 Roger Ebert
    What I felt as I watched Scooby-Doo 2 was not the intense dislike I had for the first film, but a kind of benign indifference.
    • 52 Metascore
    • 50 Roger Ebert
    The result is that we feel deliberately distanced from the film. It is not so much an exercise in style as an exercise in search of a style. The story doesn't involve us because we can't follow it, and we doubt if the characters can, either.
    • 57 Metascore
    • 50 Roger Ebert
    This is a fairly bad movie, and yet at the same time maybe about as good as it could be. There may not be an 8-year-old alive who would not love it.
    • 45 Metascore
    • 50 Roger Ebert
    I don't require that a movie have a message, but in a message movie it is helpful to know what the message is.
    • 69 Metascore
    • 50 Roger Ebert
    I'm not sure the movie should have pumped up the melodrama to get us more interested, but something might have helped.
    • 58 Metascore
    • 50 Roger Ebert
    Don't ever let this happen again to James Bond. Quantum of Solace is his 22nd film and he will survive it, but for the 23rd it is necessary to go back to the drawing board and redesign from the ground up. Please understand: James Bond is not an action hero!
    • 28 Metascore
    • 50 Roger Ebert
    The director, Jared Hess, who made "Napoleon Dynamite," a film I admit I didn't get, has made a film I don't even begin to get.
    • 30 Metascore
    • 50 Roger Ebert
    A disjointed thriller with two many characters rattling around.
    • 38 Metascore
    • 50 Roger Ebert
    Chronicles doesn't pause for much character development, and is in such a hurry that even the fight scenes are abbreviated chop-chop sessions.
    • 72 Metascore
    • 50 Roger Ebert
    Comforting, even soothing, to those who like the old songs best. It may confuse those who, because they like the characters, think it is good. It is not good. It is skillful.
    • 63 Metascore
    • 50 Roger Ebert
    This movie, for all its noble intentions, is a bore.
    • 27 Metascore
    • 50 Roger Ebert
    I would have loved to see a genuine love story involving Ice Cube, Nia Long, and the challenge of a lifelong bachelor dating a woman with children. Sad that a story like that couldn't get made, but this shrill "comedy" could.
    • 61 Metascore
    • 50 Roger Ebert
    Perfectly sweet and civilized.
    • 37 Metascore
    • 50 Roger Ebert
    The script fails to persuade me this story needed to be told. It should have been trashier or more operatic, maybe. I dunno. It exists in that middle space of films that accurately reflect that which has little need to be reflected.
    • 34 Metascore
    • 50 Roger Ebert
    If you want to see a great movie about a couple of kids endangered by a sinister guardian, rent "Night of the Hunter." Watching The Glass House has all the elements for a better film, but doesn't trust the audience to keep up with them.
    • 73 Metascore
    • 50 Roger Ebert
    It has some of the simplicity and starkness of classical tragedy, but what made me impatient was its fascination with the macho bloodlust of the two families.
    • 33 Metascore
    • 50 Roger Ebert
    The Punisher is so grim and cheerless, you wonder if even its hero gets any satisfaction from his accomplishments.
    • 66 Metascore
    • 50 Roger Ebert
    Waters follows these characters through their 15 minutes of fame without ever churning up very much interest in them.
    • 49 Metascore
    • 50 Roger Ebert
    Nine is just plain adrift in its own lack of necessity.
    • 36 Metascore
    • 50 Roger Ebert
    Suffers from a fatal misapprehension. It thinks it is about date rape, when actually it is about alcoholism.
    • 65 Metascore
    • 50 Roger Ebert
    The message behind all of this is difficult to nail down. Mars and Venus? Adults who haven't grown up? The last fling syndrome? Doing what you want instead of doing what you must?
    • 37 Metascore
    • 50 Roger Ebert
    What we get in Analyze That are several talented actors delivering their familiar screen personas in the service of an idiotic plot.
    • 41 Metascore
    • 50 Roger Ebert
    The problem with "FD3" is since it is clear to everyone who must die and in what order, the drama is reduced to a formula in which ominous events accumulate while the teenagers remain oblivious.
    • 28 Metascore
    • 50 Roger Ebert
    I felt too much of the movie consisted of groups of characters I didn't care about, running down passageways and fighting off enemies and trying to get back to the present before the window of time slams shut.
    • 45 Metascore
    • 50 Roger Ebert
    The movie tells no clear story and has no clear ideas.
    • 30 Metascore
    • 50 Roger Ebert
    It is happy to be goofy.
    • 51 Metascore
    • 50 Roger Ebert
    Star Trek is over for me. I've been looking at these stories for half a halftime, and, let's face it, they're out of gas.
    • 45 Metascore
    • 50 Roger Ebert
    Perhaps because the film makes me feel so crawly, it is actually good. Yet still I cannot like it.
    • 56 Metascore
    • 50 Roger Ebert
    Although Jack Kerouac's On the Road has been praised as a milestone in American literature, this film version brings into question how much of a story it really offers.
    • 41 Metascore
    • 50 Roger Ebert
    Whom do they make these movies for? What exercise in self-deception inspires them to go to such effort and expense for what is obviously going to be a lame exercise in retreadmanship?
    • 49 Metascore
    • 50 Roger Ebert
    Most of the running time is occupied by action sequences, chase sequences, motorcycle sequences, plow-truck sequences, helicopter sequences, fighter-plane sequences, towering android sequences and fistfights. It gives you all the pleasure of a video game without the bother of having to play it.
    • 44 Metascore
    • 50 Roger Ebert
    It will appeal to the large Indian audiences in North America and to Bollywood fans in general, who will come out wondering why this movie, of all movies, was chosen as Hollywood's first foray into commercial Indian cinema.
    • 39 Metascore
    • 50 Roger Ebert
    A sad reflection of the new Hollywood, where material is sanitized and dumbed down for a hypothetical teen market that is way too sophisticated for it. It plays like a dinner theater version of the original.
    • 71 Metascore
    • 50 Roger Ebert
    Eight Men Out is an oddly unfocused movie made of earth tones, sidelong glances and eliptic conversations. It tells the story of how the stars of the 1919 Chicago White Sox team took payoffs from gamblers to throw the World Series, but if you are not already familiar with that story you’re unlikely to understand it after seeing this film.
    • 33 Metascore
    • 50 Roger Ebert
    RV
    There is nothing I much disliked but little to really recommend. At least the movie was not nonstop slapstick, and there were a few moments of relative gravity, in which Robin Williams demonstrated once again that he's more effective on the screen when he's serious than when he's trying to be funny.
    • 19 Metascore
    • 50 Roger Ebert
    It's another overwrought clunker like "How the Grinch Stole Christmas," all effects and stunts and CGI and prosthetics, with no room for lightness and joy.
    • 33 Metascore
    • 50 Roger Ebert
    More about continuing the legend of the irascible but lovable old man into the grave, if necessary.
    • 76 Metascore
    • 50 Roger Ebert
    It is enormously ambitious -- maybe too much so, since it ranges so widely between styles and strategies that it distracts from its own flow.
    • 52 Metascore
    • 50 Roger Ebert
    300
    My deepest objection to the movie is that it is so blood-soaked. When dialogue arrives to interrupt the carnage, it's like the seventh-inning stretch.
    • 30 Metascore
    • 50 Roger Ebert
    Despite all its sound and fury, Legend is a movie I didn't care very much about. All of the special effects in the world, and all of the great makeup, and all of the great Muppet creatures can't save a movie that has no clear idea of its own mission and no joy in its own accomplishment.
    • 78 Metascore
    • 50 Roger Ebert
    It is just plain talky and boring. You know there's something wrong with a movie when the last third feels like the last half.
    • 51 Metascore
    • 50 Roger Ebert
    One of those movies where the audience knows the message before the film begins and the characters are still learning it when the film ends.
    • 23 Metascore
    • 50 Roger Ebert
    Among the better things in the movie, I count Vaughn's well-timed and smart dialogue.
    • 43 Metascore
    • 50 Roger Ebert
    The Forgotten is not a good movie, but at least it supplies a credible victim (Moore).
    • 40 Metascore
    • 50 Roger Ebert
    Projects like this bring out the best in actors, who take salary cuts to work in Chekhov (even at one remove). What we can guess, watching the film, is that the same players would make a good job of "Three Sisters" but are undermined by the faculty club, which works like a hotel lobby. There's no way to sustain dramatic momentum here.
    • 56 Metascore
    • 50 Roger Ebert
    Hilary Duff is beautiful and skilled, and I hope she finds something worthwhile to do with her talent before she truly does become the next Britney Spears and has to start worrying about the next Hilary Duff.
    • 16 Metascore
    • 50 Roger Ebert
    If the plot and screenplay are juvenile, the production values are first-rate, and the lead performance by newcomer Elizabeth Berkley has a fierce energy that's always interesting.
    • 37 Metascore
    • 50 Roger Ebert
    There's a point at which its enigmatic flashes of incomprehensible action grow annoying, and a point at which we realize that there's no use paying close attention, because we won't be able to figure out the film's secrets until they're explained to us.
    • 31 Metascore
    • 50 Roger Ebert
    High School is a pun. Get it? This is one of those stoner comedies that may be funny if you're high - but if not, not.
    • 74 Metascore
    • 50 Roger Ebert
    The disappointment is that Burton has not yet found the storytelling and character-building strength to go along with his pictorial flair.
    • 60 Metascore
    • 50 Roger Ebert
    RED
    Red is neither a good movie nor a bad one. It features actors we like doing things we wish were more interesting.
    • 51 Metascore
    • 50 Roger Ebert
    Faithfully represents Heinlein's militarism, his Big Brother state, and a value system in which the highest good is to kill a friend before the Bugs can eat him. The underlying ideas are the most interesting aspect of the film.
    • 44 Metascore
    • 50 Roger Ebert
    Is this some kind of a test? The Hangover, Part II plays like a challenge to the audience's capacity for raunchiness.
    • 43 Metascore
    • 50 Roger Ebert
    It isn't bad so much as it lacks any ambition to be more than it so obviously is.
    • 44 Metascore
    • 50 Roger Ebert
    Once you realize it's only going to be so good, you settle back and enjoy that modest degree of goodness, which is at least not badness, and besides, if you're watching Rush Hour 3, you obviously didn't have anything better to do, anyway.
    • 41 Metascore
    • 50 Roger Ebert
    The film is like a crossword puzzle. It keeps your interest until you solve it. Then it's just a worthless scrap with the spaces filled in.
    • 12 Metascore
    • 50 Roger Ebert
    The more you think about what really happens in Cocktail, the more you realize how empty and fabricated it really is.

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