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 L.A. Story
Lowest review score: 0 Slackers
Score distribution:
4,072 movie reviews
    • 78 Metascore
    • 38 Roger Ebert
    Regaled for 50 years by the stupendous idiocy of the American version of Godzilla, audiences can now see the original Japanese version, which is equally idiotic.
    • 77 Metascore
    • 38 Roger Ebert
    To the degree that you will want to see this movie, it will be because of the surprise, and so I will say no more, except to say that the "solution," when it comes, solves little - unless there is really little to solve, which is also a possibility.
    • 75 Metascore
    • 38 Roger Ebert
    The Flower of My Secret is likely to be disappointing to Almodovar's admirers, and inexplicable to anyone else.
    • 75 Metascore
    • 25 Roger Ebert
    So strong, so shocking and yet so audacious that people walk out shaking their heads; they don't know quite what to make of it.
    • 73 Metascore
    • 25 Roger Ebert
    This film is about violence. All violence. Wall-to-wall violence. Against many of those walls, heads are pounded again and again into a pulpy mass. If I estimated the film has 10 minutes of dialogue, that would be generous.
    • 66 Metascore
    • 25 Roger Ebert
    Will I seem hopelessly square if I find Kick-Ass morally reprehensible and will I appear to have missed the point? Let’s say you’re a big fan of the original comic book, and you think the move does it justice. You know what? You inhabit a world I am so very not interested in.
    • 65 Metascore
    • 25 Roger Ebert
    The filmmakers rely so heavily on cliches, on stock characters in old situations, that it's as if they never really had any confidence in their performers.
    • 64 Metascore
    • 38 Roger Ebert
    There is a kind of studied stupidity that sometimes passes as humor, and Jared Hess' Napoleon Dynamite pushes it as far as it can go.
    • 64 Metascore
    • 25 Roger Ebert
    Like a cocky teenager who's had a couple of drinks before the party, they don't have a plan for who they want to offend, only an intention to be as offensive as possible.
    • 64 Metascore
    • 25 Roger Ebert
    This film is an affront. It is incoherent, maddening, deliberately opaque and heedless of the ways in which people watch movies.
    • 63 Metascore
    • 38 Roger Ebert
    A movie that filled me with an urgent desire to see Sarah Silverman in a different movie. I liked everything about it except the writing, the direction, the editing and the lack of a parent or adult guardian.
    • 63 Metascore
    • 38 Roger Ebert
    It's a nine days' wonder, a geek show designed to win a weekend or two at the box office and then fade from memory.
    • 62 Metascore
    • 38 Roger Ebert
    So unsuccessful in so many different ways that maybe the whole project was doomed.
    • 62 Metascore
    • 25 Roger Ebert
    I see so little there: It is all remembered rote work, used to conceal old tricks, facile name-calling, the loss of hope, and emptiness.
    • 62 Metascore
    • 38 Roger Ebert
    If you walk out after 10 or 15 minutes, you will have seen the best parts of the film.
    • 61 Metascore
    • 38 Roger Ebert
    Dead Man is a strange, slow, unrewarding movie that provides us with more time to think about its meaning than with meaning.
    • 61 Metascore
    • 25 Roger Ebert
    There have been articles lately asking why the United States is so hated in some parts of the world. As this week's Exhibit A from Hollywood, I offer Zoolander.
    • 60 Metascore
    • 38 Roger Ebert
    It's nice, but it's not much of a comedy.
    • 60 Metascore
    • 38 Roger Ebert
    The characters are bitter and hateful, the images are nauseating, and the ending is bleak enough that when the screen fades to black it's a relief.. Videodrome, whatever its qualities, has got to be one of the least entertaining films of all time.
    • Chicago Sun-Times
    • 59 Metascore
    • 25 Roger Ebert
    The screenplay reads like a collaboration between Jekyll and Hyde.
    • 59 Metascore
    • 25 Roger Ebert
    Inexplicably, there are people who still haven't had enough of these movies. The first was a nifty novelty. Now the appeal has worn threadbare.
    • 58 Metascore
    • 38 Roger Ebert
    This new Footloose is a film without wit, humor or purpose.
    • 57 Metascore
    • 38 Roger Ebert
    Robert Rodriguez has somehow misplaced his energy, his flair and his humor in this third film, which is a flat and dreary disappointment.
    • 57 Metascore
    • 38 Roger Ebert
    The standards for comic book superhero movies have been established by "Superman," "The Dark Knight," "Spider-Man 2" and "Iron Man." In that company "Thor" is pitiful. Consider even the comparable villains (Lex Luthor, the Joker, Doc Ock and Obadiah Stane). Memories of all four come instantly to mind. Will you be thinking of Loki six minutes after this movie is over?
    • 57 Metascore
    • 38 Roger Ebert
    Even with Cecil B. Demented, which fails on just about every level, you've got to hand it to him (Waters): The idea for the film is kind of inspired.
    • 56 Metascore
    • 38 Roger Ebert
    The director is James Foley, who is obviously not right for this material.
    • 56 Metascore
    • 25 Roger Ebert
    Monotonous, repetitive and sometimes wildly wrong in what it hopes is funny.
    • 56 Metascore
    • 38 Roger Ebert
    The movie adds up to a few good ideas and a lot of bad ones, wandering around in search of an organizing principle.
    • 56 Metascore
    • 38 Roger Ebert
    Feels uncomfortably stage-managed, and raises fundamental questions that it simply ignores.
    • 55 Metascore
    • 25 Roger Ebert
    V/H/S is an example of the genre at its least compelling.
    • 55 Metascore
    • 38 Roger Ebert
    What Raising Arizona needs more than anything else is more velocity. Here's a movie that stretches out every moment for more than it's worth, until even the moments of inspiration seem forced.
    • 55 Metascore
    • 38 Roger Ebert
    This is a surprisingly cheesy disaster epic.
    • 54 Metascore
    • 25 Roger Ebert
    The movie has been slapped together by director Todd Phillips, who careens from scene to scene without it occurring to him that humor benefits from characterization, context and continuity. Otherwise, all you have is a lot of people acting goofy.
    • 54 Metascore
    • 38 Roger Ebert
    This is a repetitive, pointless exercise in genre filmmaking--the kind of movie where you distract yourself by making a list of the sources.
    • 54 Metascore
    • 0 Roger Ebert
    There is a line and this movie crosses it. I don't know where the line is, but it's way north of Wolf Creek. There is a role for violence in film, but what the hell is the purpose of this sadistic celebration of pain and cruelty?
    • 53 Metascore
    • 38 Roger Ebert
    An efficient delivery system for Gotcha! Moments, of which it has about 19. Audiences who want to be Gotchaed will enjoy it.
    • 53 Metascore
    • 38 Roger Ebert
    Pretty much a mess of a movie; the acting is overwrought, the plot is too tangled to play like anything BUT a plot, and although I know you can create terrific special effects at home in the basement on your computer, the CGI work in this movie looks like it was done with a dial-up connection.
    • 53 Metascore
    • 38 Roger Ebert
    The movie stars Jim Carrey, who is in his pleasant mode. It would have helped if he were in his manic mode, although it's hard to get a rise out of a penguin.
    • 53 Metascore
    • 38 Roger Ebert
    It is a thriller trapped inside a pop comedy set in Japan, and gives Reno a chirpy young co-star who bounces around him like a puppy on visiting day at the drunk tank.
    • 53 Metascore
    • 38 Roger Ebert
    The Awakening looks great but never develops a plot with enough clarity to engage us, and the solution to the mystery is I am afraid disappointingly standard.
    • 52 Metascore
    • 12 Roger Ebert
    It's a movie without a brain. Charlie's Angels is like the trailer for a video game movie, lacking only the video game, and the movie.
    • 52 Metascore
    • 38 Roger Ebert
    The kind of movie that somehow succeeds in moving very, very slowly even while proceeding at a breakneck pace. It cuts quickly back and forth between nothing and nothing.
    • 52 Metascore
    • 38 Roger Ebert
    It is not faulty logic that derails The Hills have Eyes, however, but faulty drama. The movie is a one-trick pony.
    • 52 Metascore
    • 25 Roger Ebert
    The best shot in this film is the first one. Not a good sign.
    • 52 Metascore
    • 38 Roger Ebert
    The plot risks bursting under the strain of its coincidences, as Sara and Jon fly to opposite coasts at the same time and engage in a series of Idiot Plot moves so extreme and wrongheaded that even other characters in the same scene should start shouting helpful suggestions.
    • 52 Metascore
    • 12 Roger Ebert
    A truly dreadful film, a lifeless, massive, lumbering exercise in failed comedy. Elaine May, the director, has mounted a multimillion-dollar expedition in search of a plot so thin that it hardly could support a five-minute TV sketch.
    • 52 Metascore
    • 38 Roger Ebert
    A march through the swamp of recycled ugly duckling stories, with occasional pauses in the marsh of sitcom cliches and the bog of Idiot Plots.
    • 52 Metascore
    • 38 Roger Ebert
    It takes some doing to make a Jack Black comedy that doesn't work. But Nacho Libre does it.
    • 52 Metascore
    • 38 Roger Ebert
    (Li)'s scenes are so clearly computer-aided that his moves are about as impressive as Bugs Bunny doing the same.
    • 52 Metascore
    • 25 Roger Ebert
    It's the worst kind of bad film: the kind that gets you all worked up and then lets you down, instead of just being lousy from the first shot.
    • 51 Metascore
    • 38 Roger Ebert
    Uncle Buck attempts to tell a heart-warming story through a series of uncomfortable and unpleasant scenes; it's a tug-of-war between its ambitions and its methods.
    • 51 Metascore
    • 38 Roger Ebert
    Boring, repetitive and maddening about a subject you'd think would be fairly interesting: snowboarding down a mountain.
    • 51 Metascore
    • 38 Roger Ebert
    Plays like a tired exercise, a spy spoof with no burning desire to be that, or anything else.
    • 51 Metascore
    • 38 Roger Ebert
    In Step Brothers, the language is simply showing off by talking dirty. It serves no comic function, and just sort of sits there in the air, making me cringe.
    • 50 Metascore
    • 38 Roger Ebert
    Strange, that movies about Satan always require Catholics. You never see your Presbyterians or Episcopalians hurling down demons.
    • 49 Metascore
    • 38 Roger Ebert
    This is not the story of a fugitive trying to sneak through enemy terrain and be rescued, but of a movie character magically transported from one photo opportunity to another.
    • 49 Metascore
    • 25 Roger Ebert
    Sometimes it works to show their lips moving (it certainly did in "Babe"), but in Good Boy! the jaw movements are so mechanical it doesn't look like speech, it looks like a film loop.
    • 49 Metascore
    • 25 Roger Ebert
    Sarah Michelle Gellar, the nominal star, has been in her share of horror movies, and all by herself could have written and directed a better one than this.
    • 49 Metascore
    • 38 Roger Ebert
    The astonishing success of the original "MiB" was partly because it was fun, partly because it was unexpected. We'd never seen anything like it, while with MiBII, we've seen something exactly like it.
    • 49 Metascore
    • 38 Roger Ebert
    You want gore, you get gore. Hatchet II plays less like a slasher movie than like the highlight reel from a slasher movie.
    • 49 Metascore
    • 38 Roger Ebert
    A labored and sour comedy.
    • 49 Metascore
    • 38 Roger Ebert
    The average issue of Mad magazine contains significantly smarter movie satire, because Mad goes for the vulnerable elements and Scary Movie 3 just wants to quote and kid.
    • 48 Metascore
    • 25 Roger Ebert
    To call A Lot like Love dead in the water is an insult to water.
    • 48 Metascore
    • 38 Roger Ebert
    Tucker's scenes finally wear us down. How can a movie allow him to be so obnoxious and make no acknowledgment that his behavior is aberrant?
    • 48 Metascore
    • 25 Roger Ebert
    I'm Gonna Git You Sucka is a comedy that feeds off the blaxploitation movies, and although, like all good satires, it is cheerfully willing to be offensive, it is almost completely incapable of being funny.
    • 48 Metascore
    • 12 Roger Ebert
    The very soul of sophomorism. It is callow, gauche, obvious and awkward, and designed to appeal to those with similar qualities.
    • 48 Metascore
    • 38 Roger Ebert
    Rubber-stamped from the same mold that has produced an inexhaustible supply of fictional Southern belles who drink too much, talk too much, think about themselves too much, try too hard to be the most unforgettable character you've ever met, and are, in general, insufferable.
    • 48 Metascore
    • 25 Roger Ebert
    Part 2 seems even more like a Stallone vehicle than the first movie. I'm not even sure it's intended as a comedy. It's filled wall to wall with the kind of routine action and violence that Hollywood extrudes by the yard and shrink-wraps to order.
    • 47 Metascore
    • 12 Roger Ebert
    Josie and the Pussycats are not dumber than the Spice Girls, but they're as dumb as the Spice Girls, which is dumb enough.
    • 47 Metascore
    • 25 Roger Ebert
    During the course of Failure to Launch, characters are bitten by a chipmunk, a dolphin, a lizard and a mockingbird. I am thinking my hardest why this is considered funny, and I confess defeat.
    • 47 Metascore
    • 12 Roger Ebert
    This is a dishonest, quease-inducing "comedy" that had me feeling uneasy and then unclean. Who in the world read this script and thought it was acceptable?
    • 47 Metascore
    • 38 Roger Ebert
    I couldn't believe a moment of it, and never identified with little David.
    • 47 Metascore
    • 38 Roger Ebert
    The movie deserves more stars for its bottom-line craft, but all the craft in the world can't redeem its story.
    • 47 Metascore
    • 38 Roger Ebert
    The Legend of Zorro commits a lot of movie sins, but one is mortal: It turns the magnificent Elena into a nag.
    • 47 Metascore
    • 38 Roger Ebert
    The movie is an invaluable experiment in the theory of cinema, because it demonstrates that a shot-by-shot remake is pointless; genius apparently resides between or beneath the shots, or in chemistry that cannot be timed or counted.
    • 47 Metascore
    • 38 Roger Ebert
    Obviously made with all of the best will in the world, its heart in the right place, this is a sluggish and dutiful film that plays more like a eulogy than an adventure.
    • 47 Metascore
    • 38 Roger Ebert
    Bored out of my mind during this spectacle, I found my attention wandering to the subject of physics.
    • 47 Metascore
    • 25 Roger Ebert
    There is not a spark of chemistry between Chris and Jamie, although the plot clearly requires them to fall in love. There is so much chemistry involved with the Anna Faris character, however, that she can set off multiple chain reactions with herself, if you see what I mean.
    • 47 Metascore
    • 38 Roger Ebert
    The movie pretends to show poor black kids being bribed into literacy by Dylan and candy bars, but actually it is the crossover white audience that is being bribed with mind-candy in the form of safe words by the two Dylans.
    • 46 Metascore
    • 38 Roger Ebert
    Newsies is like warmed-over Horatio Alger, complete with such indispensable cliches as the newsboy on crutches, the little kid, and of course the hero's best pal, who has a pretty sister.
    • 46 Metascore
    • 38 Roger Ebert
    The Immortals is without doubt the best-looking awful movie you will ever see.
    • 46 Metascore
    • 25 Roger Ebert
    Leads us down the garden path of romance, only to abandon us by the compost heap of uplifting endings. And it's not even clever enough to give us the right happy ending. It gives us the wrong happy ending.
    • 46 Metascore
    • 38 Roger Ebert
    Hoot has its heart in the right place, but I have been unable to locate its brain.
    • 46 Metascore
    • 38 Roger Ebert
    A first draft for a movie that could have been extraordinary.
    • 45 Metascore
    • 38 Roger Ebert
    There are few things more depressing than a weeper that doesn't make you weep.
    • 45 Metascore
    • 38 Roger Ebert
    Ansiedad is a smart charmer, and well-played by Cierra Ramirez, she should really be above this sort of thing - above the whole movie, really.
    • 45 Metascore
    • 38 Roger Ebert
    Blindness is one of the most unpleasant, not to say unendurable, films I've ever seen.
    • 45 Metascore
    • 38 Roger Ebert
    I admire the craft involved, but the movie leaves me profoundly indifferent. After three earlier movies in the series, which have been transmuted into video games, why do we need a fourth one? Oh. I just answered my own question.
    • 45 Metascore
    • 38 Roger Ebert
    Its primary flaw is that it's not critical. It is a celebration of an idiotic lifestyle, and I don't think it knows it.
    • 45 Metascore
    • 38 Roger Ebert
    The photography, the dialogue, the acting, the script, the special effects and especially the props (such as a spaceship that looks like it would get a D in shop class) are all deliberately bad in the way that such films were bad when they were REALLY being made.
    • 45 Metascore
    • 38 Roger Ebert
    A film so amateurish that only the professionalism of some of the actors makes it watchable.
    • 45 Metascore
    • 38 Roger Ebert
    I am just about ready to write off movies in which people make bets about whether they will, or will not, fall in love.
    • 45 Metascore
    • 38 Roger Ebert
    A painfully stolid movie that lumbers past emotional issues like a wrestler in a cafeteria line, putting a little of everything on his plate.
    • 45 Metascore
    • 38 Roger Ebert
    Bootmen is the story of a young dancer and his friends who revisit the cliches of countless other dance movies in order to bring forth a dance performance of clanging unloveliness.
    • 45 Metascore
    • 38 Roger Ebert
    An earnest but hopeless attempt to tell a parable about a man's search for redemption. By the end of his journey, we don't care if he finds redemption, if only he finds wakefulness.
    • 44 Metascore
    • 38 Roger Ebert
    Joyful Noise is an ungainly assembly of parts that don't fit, and the strange thing is that it makes no particular effort to please its target audience, which would seem to be lovers of gospel choirs.
    • 44 Metascore
    • 38 Roger Ebert
    Its centerpiece is 40 minutes of redundant special effects, surrounded by a love story of stunning banality.
    • 44 Metascore
    • 25 Roger Ebert
    The Twilight Saga: New Moon takes the tepid achievement of "Twilight" (1988), guts it, and leaves it for undead.
    • 44 Metascore
    • 25 Roger Ebert
    No one in the movie has a morsel of intelligence. They all seem to be channeling more successful characters in better comedies. This would be touching if it were not so desperate.
    • 44 Metascore
    • 38 Roger Ebert
    The movie works so hard at juggling its cliches that it fails to generate interest in its story.

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