For 4,340 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 9.5 points higher than other critics. (0-100 point scale)

Roger Ebert's Scores

  • Movies
  • TV
Average review score: 72
Highest review score: 100 49 Up
Lowest review score: 0 I Spit on Your Grave
Score distribution:
4340 movie reviews
    • 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.
    • 76 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.
    • 58 Metascore
    • 100 Roger Ebert
    Here's a technological sound-and-light show that is sensational and brainy, stylish, and fun.
    • 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.
    • 70 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.
    • 78 Metascore
    • 100 Roger Ebert
    Halloween is an absolutely merciless thriller, a movie so violent and scary that, yes, I would compare it to “Psycho.”
    • 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.
    • 78 Metascore
    • 100 Roger Ebert
    Play Misty for Me is not the artistic equal of Psycho (1960), but in the business of collecting an audience into the palm of its hand and then squeezing hard, it is supreme. It doesn't depend on a lot of surprises to maintain the suspense. There ARE some surprises, sure, but mostly the film's terror comes from the fact that the strange woman is capable of anything.
    • 80 Metascore
    • 100 Roger Ebert
    Mel Brooks is home with Young Frankenstein, his most disciplined and visually inventive film (it also happens to be very funny).
    • 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.
    • 83 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.
    • 80 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.
    • 88 Metascore
    • 100 Roger Ebert
    So the movie's flawed. So it leaves us with loose ends and questions. That finally doesn't bother me, because what it does accomplish is done so well, is seen so sharply, is presented so unforgivingly, that Network will outlive a lot of tidier movies.
    • 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.
    • 97 Metascore
    • 100 Roger Ebert
    My Left Foot is a great film for many reasons, but the most important is that it gives us such a complete picture of this man's life. It is not an inspirational movie, although it inspires. It is not a sympathetic movie, although it inspires sympathy. It is the story of a stubborn, difficult, blessed and gifted man who was dealt a bad hand, who played it brilliantly, and who left us some good books, some good paintings and the example of his courage.
    • 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.
    • 76 Metascore
    • 100 Roger Ebert
    The movie is as intelligent a thriller as you'll see this year.
    • 96 Metascore
    • 100 Roger Ebert
    It's enchanting and delightful in its own way, and has a good heart. It is the best animated film of recent years, the latest work by Hayao Miyazaki, the Japanese master who is a god to the Disney animators.
    • 92 Metascore
    • 100 Roger Ebert
    The most painful and heartrending portrait of jealousy in the cinema--an "Othello'' for our times.
    • 63 Metascore
    • 100 Roger Ebert
    Green takes us to that place where we keep feelings that we treasure, but are a little afraid of.
    • 86 Metascore
    • 100 Roger Ebert
    The performances are all insidiously powerful.
    • 93 Metascore
    • 100 Roger Ebert
    What is most amazing about this film is how completely Spielberg serves his story. The movie is brilliantly acted, written, directed and seen. Individual scenes are masterpieces of art direction, cinematography, special effects, crowd control.
    • 87 Metascore
    • 100 Roger Ebert
    Gomorrah looks grimy and sullen, and has no heroes, only victims. That is its power.
    • 67 Metascore
    • 100 Roger Ebert
    It is also a rarity, a patriotic film that has a liberal, rather than a conservative, heart. It made me feel good to be an American, and good that Vladimir Ivanoff was going to be one, too.
    • 78 Metascore
    • 100 Roger Ebert
    More reverie and meditation than reportage.
    • 83 Metascore
    • 100 Roger Ebert
    The way Hugo deals with Melies is enchanting in itself, but the film's first half is devoted to the escapades of its young hero. In the way the film uses CGI and other techniques to create the train station and the city, the movie is breathtaking.
    • 88 Metascore
    • 100 Roger Ebert
    Philip Seymour Hoffman's precise, uncanny performance as Capote doesn't imitate the author so much as channel him, as a man whose peculiarities mask great intelligence and deep wounds.
    • 76 Metascore
    • 100 Roger Ebert
    An endlessly fascinating movie.
    • 84 Metascore
    • 100 Roger Ebert
    A very funny, sometimes very sad documentary.
    • 61 Metascore
    • 100 Roger Ebert
    But there is no way, within the film, to be sure with any confidence exactly what happens, or precisely how, or really why. Kubrick delivers this uncertainty in a film where the actors themselves vibrate with unease.
    • 72 Metascore
    • 100 Roger Ebert
    There are moments in All or Nothing of such acute observation that we nod in understanding -- The closing scenes of the movie are just about perfect.
    • 81 Metascore
    • 100 Roger Ebert
    It is not a film for most people. It is certainly for adults only. But it shows Todd Solondz as a filmmaker who deserves attention, who hears the unhappiness in the air and seeks its sources.
    • 85 Metascore
    • 100 Roger Ebert
    Max is played by Jean Gabin, named "the actor of the century" in a French poll, in Jacques Becker's Touchez Pas au Grisbi, a 1954 French crime film that uncannily points the way toward Jean-Pierre Melville's great "Bob Le Flambeur" the following year.
    • 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.
    • 71 Metascore
    • 100 Roger Ebert
    The kind of parable that encourages us to re-evaluate the good old days and take a fresh look at the new world we so easily dismiss as decadent.
    • 80 Metascore
    • 100 Roger Ebert
    By the end of the movie, we have been through an emotional and a sensual wringer, in a film of great wisdom and delight.
    • 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.
    • 67 Metascore
    • 100 Roger Ebert
    [An] extraordinary documentary, nothing at all like what I was expecting to see. Here is not a sick and drugged man forcing himself through grueling rehearsals, but a spirit embodied by music. Michael Jackson was something else.
    • 58 Metascore
    • 100 Roger Ebert
    Pitiless, bleak and despairing -- The Grey Zone refers to a world where everyone is covered with the gray ash of the dead, and it has been like that for so long they do not even notice anymore.
    • 89 Metascore
    • 100 Roger Ebert
    Who is Charles Ferguson, director of this film? A one-time senior fellow of the Brookings Institute, software millionaire, originally a supporter of the war, visiting professor at MIT and Berkeley, he was trustworthy enough to inspire confidences from former top officials.
    • 83 Metascore
    • 100 Roger Ebert
    Duvall's screenplay does what great screenwriting is supposed to do, and surprises us with additional observations and revelations in every scene.
    • 75 Metascore
    • 100 Roger Ebert
    An Officer and a Gentleman is the best movie about love that I've seen in a long time.
    • 80 Metascore
    • 100 Roger Ebert
    It is a great story of love and hope, told tenderly and without any great striving for effect.
    • 55 Metascore
    • 100 Roger Ebert
    Watching Invincible was a singular experience for me, because it reminded me of the fundamental power that the cinema had for us when we were children. The film exercises the power that fable has for the believing.
    • 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.
    • 49 Metascore
    • 100 Roger Ebert
    The suspense screws up tighter than a drum-head. The characters remain believable; we have a conflict of personalities, not stereotypes. The action coexists seamlessly with the message.
    • 81 Metascore
    • 100 Roger Ebert
    A fresh, quirky, unusually intelligent comedy.
    • 70 Metascore
    • 100 Roger Ebert
    It simply looks at the day as it unfolds, and that is a brave and radical act; it refuses to supply reasons and assign cures, so that we can close the case and move on.
    • 68 Metascore
    • 100 Roger Ebert
    The movie is uncommonly absorbing.
    • 75 Metascore
    • 100 Roger Ebert
    The very best thing about the movie is its dialogue. Paul Brickman, who wrote and directed, has an ear so good that he knows what to leave out.
    • 86 Metascore
    • 100 Roger Ebert
    It's one of those extraordinary films, like "Hoop Dreams," that tells a story the makers could not possibly have anticipated in advance. It works like stunning, grieving fiction.
    • 70 Metascore
    • 100 Roger Ebert
    Has no ragged edges or bothersome detours, and flows from surprise to delight. At the end, when just desserts are handed out, it arrives at a kind of perfection.
    • 90 Metascore
    • 100 Roger Ebert
    This film is delightful in the way it finds its own way to tell its own story. There was no model to draw on, but Shari Springer Berman and Robert Pulcini, who wrote and directed it, have made a great film by trusting to Pekar's artistic credo.
    • 83 Metascore
    • 100 Roger Ebert
    A documentary with no pretense of objectivity. Here is Mike Tyson's story in his own words, and it is surprisingly persuasive.
    • 76 Metascore
    • 100 Roger Ebert
    Lost in America is being called a yuppie comedy, but it's really about the much more universal subjects of greed, hedonism and panic. What makes it so funny is how much we can identify with it.
    • 79 Metascore
    • 100 Roger Ebert
    We laugh, that we may not cry. But none of this philosophy comes close to the insane logic of "M*A*S*H," which is achieved through a peculiar marriage of cinematography, acting, directing, and writing.
    • 88 Metascore
    • 100 Roger Ebert
    I wanted to hug this movie. It takes such a risky journey and never steps wrong. It creates specific, original, believable, lovable characters, and meanders with them through their inconsolable days, never losing its sense of humor.
    • 87 Metascore
    • 100 Roger Ebert
    Here is a film where God does not intervene and the directors do not mistake themselves for God. It makes the solutions at the ends of other pictures seem like child's play.
    • 77 Metascore
    • 100 Roger Ebert
    Red Riding Trilogy is an immersive experience like "The Best of Youth," "Brideshead Revisited" or "Nicholas Nickleby."
    • 74 Metascore
    • 100 Roger Ebert
    This isn't an adaptation of a comic book, it's like a comic book brought to life and pumped with steroids.
    • 76 Metascore
    • 100 Roger Ebert
    Not many movies like this get made, because not many filmmakers are so bold, angry and defiant.
    • 74 Metascore
    • 100 Roger Ebert
    Like all good satirists, he knows that too much realism will weaken his effect. He lets you know he's making a comedy. There's an over-the-top exuberance to the intricate crosscut editing and to the hyperactive camera.
    • 88 Metascore
    • 100 Roger Ebert
    One of the most fascinating aspects of Inside Job involves the chatty on-camera insights of Kristin Davis, a Wall Street madam, who says the Street operated in a climate of abundant sex and cocaine for valued clients and the traders themselves.
    • 71 Metascore
    • 100 Roger Ebert
    This is such a rare movie. Its characters are uncompromisingly themselves, flawed, stubborn, vulnerable.
    • 85 Metascore
    • 100 Roger Ebert
    The film concludes not with a "surprise ending" but with a series of shots that brilliantly summarize all that has gone before. This is masterful filmmaking.

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