For 4,126 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 10.1 points higher than other critics. (0-100 point scale)

Roger Ebert's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 The Big Easy
Lowest review score: 0 Slackers
Score distribution:
4126 movie reviews
    • 88 Metascore
    • 50 Roger Ebert
    Perhaps it is not supposed to be clear; perhaps the movie's air of confusion is part of its paranoid vision. There are individual moments that create sharp images (shock troops drilling through a ceiling, De Niro wrestling with the almost obscene wiring and tubing inside a wall, the movie's obsession with bizarre duct work), but there seems to be no sure hand at the controls.
    • 86 Metascore
    • 50 Roger Ebert
    Ten
    The shame is that more accessible Iranian directors are being neglected in the overpraise of Kiarostami.
    • 81 Metascore
    • 50 Roger Ebert
    It is a touching story, and the musicians (some over 90 years old) still have fire and grace onstage, but, man, does the style of this documentary get in the way.
    • 80 Metascore
    • 50 Roger Ebert
    Watching this film I reflected that there are only so many Cracker Jacks you can eat before you decide to hell with the toy.
    • 79 Metascore
    • 50 Roger Ebert
    The movie itself is good and shows promise, except for the ending, when Trier shouldn't have been so poetic. Not only does Reprise generate itself, it contains its own review.
    • 79 Metascore
    • 50 Roger Ebert
    Not the worst of the countless recent movies about good kids and hidebound, authoritatian older people. It may, however, be the most shameless in its attempt to pander to an adolescent audience.
    • 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.
    • 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.
    • 76 Metascore
    • 50 Roger Ebert
    Because the film is well-acted and written with intelligence, it might be worth seeing, despite my objections. I suspect my own feelings.
    • 76 Metascore
    • 50 Roger Ebert
    All of this grows tiresome. We're given no particular reason at the outset of The Loneliest Planet to care about these people, our interest doesn't grow along the way, the landscape grows repetitive, the director's approach is aggressively minimalist, and if you ask me, this romance was not made in heaven.
    • 75 Metascore
    • 50 Roger Ebert
    Somehow isn't as exciting as a duel over a woman should be.
    • 75 Metascore
    • 50 Roger Ebert
    The story touches many themes, lingers with some of them, moves on and arrives at nowhere in particular. It's not a story so much as a reverie about possible stories.
    • 74 Metascore
    • 50 Roger Ebert
    As an achievement, Computer Chess is laudable. As a film, it's missable.
    • 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.
    • 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.
    • 73 Metascore
    • 50 Roger Ebert
    So enigmatic, oblique and meandering that it's like coded religious texts that requires monks to decipher.
    • 73 Metascore
    • 50 Roger Ebert
    A screenplay with the depth and insight of a cable-TV docudrama.
    • 73 Metascore
    • 50 Roger Ebert
    A big, clunky movie containing some sensational sights but lacking the zest and joyous energy we expect from Steven Spielberg.
    • 72 Metascore
    • 50 Roger Ebert
    The problem is that Winterbottom has imagined both stories and several others, and tells them in a style designed to feel as if reality has been caught on the fly.
    • 72 Metascore
    • 50 Roger Ebert
    When the hero, his alter ego, his girlfriend and the villain all seem to lack any joy in being themselves, why should we feel joy at watching them?
    • 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.
    • 71 Metascore
    • 50 Roger Ebert
    I praised "Lovely & Amazing," which also features a romance between an adult woman and a teenage boy. But "Lovely & Amazing" is about events that happen in a plausible world (the adult is actually arrested). Tadpole wants only to be a low-rent "Graduate" clone.
    • 71 Metascore
    • 50 Roger Ebert
    Slight and sometimes wearisome.
    • 70 Metascore
    • 50 Roger Ebert
    The movie's problem is that it loads the casting in a way that tilts the movie in the direction of a Harlequin romance.
    • 70 Metascore
    • 50 Roger Ebert
    On a technical level, there's a lot to be said for Die Hard. It's when we get to some of the unnecessary adornments of the script that the movie shoots itself in the foot.
    • 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.
    • 69 Metascore
    • 50 Roger Ebert
    The movie's problem is that no one seemed to have any fun making it, and it's hard to have much fun watching it. It's a depressing experience.
    • 69 Metascore
    • 50 Roger Ebert
    There are better movies opening this weekend. There are better movies opening every weekend. But Slither has a competence to it, an ability to manipulate obligatory horror scenes in a way that works.
    • 69 Metascore
    • 50 Roger Ebert
    I enjoyed Ashes of Time Redux, up to a point. It's great-looking, and the characters all know what they would, although we do not.
    • 69 Metascore
    • 50 Roger Ebert
    Not a very entertaining movie; it's a long slog unless you're fascinated by the undercurrents.
    • 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.
    • 68 Metascore
    • 50 Roger Ebert
    The phrase "coming of age," when applied to movies, almost always implies sex, but Girls Can't Swim has nothing useful to say about sex (certainly not compared to Catherine Breillat's brilliant "Fat Girl" from last year), and is too jerky in structure to inspire much empathy from us.
    • 68 Metascore
    • 50 Roger Ebert
    The movie tells us nothing we haven't heard before.
    • 68 Metascore
    • 50 Roger Ebert
    The movie lacks the warmth and edge of the two previous features ("Walking and Talking" and "Lovely and Amazing"). It seems to be more of an idea than a story.
    • 68 Metascore
    • 50 Roger Ebert
    I give the movie a negative review, and yet I don't think it's a bad movie; it's more of a misguided one, made with great creativity, but denying us what we more or less deserve from a Batman story.
    • 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.
    • 67 Metascore
    • 50 Roger Ebert
    All of the materials are in place for a film that might have pleased Orwell. But somehow they never come together.
    • 67 Metascore
    • 50 Roger Ebert
    Hal Hartley is on his way to creating a distinctive film world, and although Trust is not a successful film, you can see his vision at work, and it's intriguing.
    • 66 Metascore
    • 50 Roger Ebert
    The movie is more concerned with the story line (premiere-fire-threat-rescue) than with painting the time and place.
    • 66 Metascore
    • 50 Roger Ebert
    It is admirable and well-made, but unutterably depressing and unredeemed by any glimmer of hope.
    • 66 Metascore
    • 50 Roger Ebert
    The movie is too impressed with its own solemn insights to work up much entertainment value; is too much fable to be convincing as life.
    • 66 Metascore
    • 50 Roger Ebert
    Waters follows these characters through their 15 minutes of fame without ever churning up very much interest in them.
    • 66 Metascore
    • 50 Roger Ebert
    There may be possibilities here, but they're lost in the extraordinary boredom of a long third act devoted almost entirely to loud, pointless and repetitive action.
    • 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.
    • 66 Metascore
    • 50 Roger Ebert
    The actors are better than the material.
    • 66 Metascore
    • 50 Roger Ebert
    The Higgins performance owes more than a little to Fred Willard's unforgettable dog show commentary in "Best in Show," but it was clear that Willard was part of a telecast.
    • 65 Metascore
    • 50 Roger Ebert
    Entertaining if you understand exactly what it is: if you see it as a film made by friends out of the materials presented by their lives and with the freedom to not push too hard.
    • 65 Metascore
    • 50 Roger Ebert
    It wants to be a movie in search of a truth, but it's more like a movie in search of itself.
    • 65 Metascore
    • 50 Roger Ebert
    It's a long, shapeless, undisciplined mess, and every once in awhile it generates a big laugh.
    • 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?
    • 65 Metascore
    • 50 Roger Ebert
    A conspiracy thriller that begins well and makes good points, but it flies off the rails in the last 30 minutes.
    • 65 Metascore
    • 50 Roger Ebert
    Ali
    A long, flat, curiously muted film about the heavyweight champion. It lacks much of the flash, fire and humor of Muhammad Ali and is shot more in the tone of a eulogy than a celebration. There is little joy here.
    • 64 Metascore
    • 50 Roger Ebert
    Too much self-pity.
    • 64 Metascore
    • 50 Roger Ebert
    The film is bold and passionate, but not subtle, and that is its downfall.
    • 64 Metascore
    • 50 Roger Ebert
    By the end of the movie, I frankly didn't give a damn. There's an ironic twist, but the movie hadn't paid for it and didn't deserve it. And I was struck by the complete lack of morality in Demonlover.
    • 64 Metascore
    • 50 Roger Ebert
    The characters are all over the map, there are too many unclear story threads, our sympathies are confused, and there's an unconvincing showdown in which the story's lovingly developed ambiguities are lost.
    • 64 Metascore
    • 50 Roger Ebert
    It employs depression as a substitute for personality, and believes that if the characters are bitter and morose enough, we won't notice how dull they are.
    • 64 Metascore
    • 50 Roger Ebert
    The charisma of such actors as Gandolfini, Pitt, Liotta and Jenkins depends largely on their screen presences and our memories of them in better roles.
    • 64 Metascore
    • 50 Roger Ebert
    Lacks some of the idiocy of your average teenage rom-com. But it doesn't bring much to the party. It sort of ambles along, with two nice people at the center of a human scavenger hunt. It's not much of a film, but it sort gets you halfway there, like a Yugo.
    • 64 Metascore
    • 50 Roger Ebert
    Grass is not much as a documentary. It's a cut-and-paste job, assembling clips from old and new anti-drug films and alternating them with pro-drug footage from the Beats, the flower power era and so on.
    • 64 Metascore
    • 50 Roger Ebert
    In the end, I'm conflicted about the film. As an accessible family film, it delivers the goods. But it lives in the shadow of "March of the Penguins." Despite its sad scenes, it sentimentalizes.
    • 64 Metascore
    • 50 Roger Ebert
    You know all those horror stories about a cigar-chomping producer who screens a movie and says they need to lose 15 minutes and shoot a new ending? Wedding Crashers needed a producer like that.
    • 64 Metascore
    • 50 Roger Ebert
    There is a certain lackluster feeling to the way the key characters debate the issues, and perhaps that reflects the suspicion of the filmmakers that they have hitched their wagon to the wrong cause.
    • 63 Metascore
    • 50 Roger Ebert
    Brando doesn't so much walk through this movie as coast, in a gassy, self-indulgent performance no one else could have gotten away with.
    • 63 Metascore
    • 50 Roger Ebert
    The movie was more of a revue than a narrative, more about moments than an organizing purpose, and cute to the point that I yearned for some corrosive wit from its second cousin, the Monty Python universe.
    • 63 Metascore
    • 50 Roger Ebert
    The special effects are all there, nicely in place, and the production values are sound, but the movie is dead in the water. It tells an amazing and preposterous story, and it seems bored by it.
    • 63 Metascore
    • 50 Roger Ebert
    The movie itself isn't as interesting as the conversations you can have about it. It duplicates Thomas' miserable world so well we want to escape it as urgently as Thomas does.
    • 63 Metascore
    • 50 Roger Ebert
    This movie, for all its noble intentions, is a bore.
    • 63 Metascore
    • 50 Roger Ebert
    If I found it creepy beyond all reason, that is no doubt because I have been hopelessly corrupted by the decadent society I inhabit.
    • 63 Metascore
    • 50 Roger Ebert
    Children should not be allowed within a mile of this film, but it will appeal to "Jackass" fans and other devotees of the joyously ignorant.
    • 62 Metascore
    • 50 Roger Ebert
    A Burning Hot Summer failed to persuade me of any reason for its existence.
    • 62 Metascore
    • 50 Roger Ebert
    We're left with a promising idea for a comedy, which arrives at some laughs but never finds its destination.
    • 62 Metascore
    • 50 Roger Ebert
    A step or two down from the first and second, but it has some very funny moments, and maybe that is all we hope for.
    • 62 Metascore
    • 50 Roger Ebert
    A conventional film for an unconventional actor.
    • 62 Metascore
    • 50 Roger Ebert
    The movie was produced by Seinfeld, and protects him. The visuals tend toward the dim, the gray and the washed-out, and you wish instead of spending a year with their store-boughts, they'd spent a month and used the leftover to hire a cinematographer.
    • 62 Metascore
    • 50 Roger Ebert
    You can enjoy U-571 as a big, dumb war movie without a brain in its head.
    • 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.
    • 61 Metascore
    • 50 Roger Ebert
    A disorganized, rambling and eccentric movie that contains some moments of truth, some moments of humor, and many moments of digression.
    • 61 Metascore
    • 50 Roger Ebert
    The material might have promise as a black comedy, but its attempt to put on a smiling face is unconvincing.
    • 61 Metascore
    • 50 Roger Ebert
    One fundamental problem with the movie is that John Travolta is seriously miscast as a nuclear terrorist. Say what you will about the guy, he doesn't come across as a heavy.
    • 61 Metascore
    • 50 Roger Ebert
    I guess it's a tribute to The Man With Two Brains that I found myself laughing a fair amount of the time, despite my feelings about Martin.
    • 61 Metascore
    • 50 Roger Ebert
    Its hero upstages anything the plot can possibly come up with.
    • 61 Metascore
    • 50 Roger Ebert
    Never comes alive.
    • 61 Metascore
    • 50 Roger Ebert
    Perfectly sweet and civilized.
    • 61 Metascore
    • 50 Roger Ebert
    The first-time director is Mateo Gil, known for the screenplays of "Open Your Eyes," "The Sea Inside" and "Agora." Ironic, that the film's weakness is its screenplay.
    • 61 Metascore
    • 50 Roger Ebert
    Not a successful movie--it's too stilted and pre-programmed to come alive--but in the center of it McDormand occupies a place for her character and makes that place into a brilliant movie of its own.
    • 60 Metascore
    • 50 Roger Ebert
    Seems curiously unfinished, as if director John Landis spent all his energy on spectacular set pieces and then didn't want to bother with things like transitions, character development, or an ending.
    • 60 Metascore
    • 50 Roger Ebert
    Scanners is a new horror film made with enough craft and skill that it could have been very good, if it could find a way to make us care about it.
    • 60 Metascore
    • 50 Roger Ebert
    The film is not a compelling drama so much as a poignant observation of a sad situation.
    • 60 Metascore
    • 50 Roger Ebert
    The movie plays like the kind of line a rich older guy would lay on a teenage model,suppressing his own intelligence and irony in order to spread out before her the wonderful world he would like to give her as a gift.
    • 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.
    • 60 Metascore
    • 50 Roger Ebert
    You hear some nostalgia, but with most of them you don't get the idea that if they had the chance they'd do it all again.
    • 60 Metascore
    • 50 Roger Ebert
    If the movie is not original, at least it's a showcase for the actors and writers. It does not speak as well, alas, for director Jordan Melamed and his cinematographer, Nick Hay.
    • 60 Metascore
    • 50 Roger Ebert
    I have never seen anything remotely approaching the mess that the new punk version of "Romeo & Juliet" makes of Shakespeare's tragedy.
    • 60 Metascore
    • 50 Roger Ebert
    Lars von Trier exhibits the imagination of an artist and the pedantry of a crank in Dogville, a film that works as a demonstration of how a good idea can go wrong.
    • 60 Metascore
    • 50 Roger Ebert
    So determined to be clever and whimsical that it neglects to be anything else.
    • 59 Metascore
    • 50 Roger Ebert
    Until the plot becomes intolerably cornball, there's charm in the story.
    • 59 Metascore
    • 50 Roger Ebert
    Spider-Man 3 is, in short, a mess. Too many villains, too many pale plot strands, too many romantic misunderstandings, too many conversations, too many street crowds looking high into the air and shouting "oooh!" this way, then swiveling and shouting "aaah!" that way.
    • 59 Metascore
    • 50 Roger Ebert
    Each scene works within itself on its own terms. But there is no whole here. I've rarely seen a narrative film that seemed so reluctant to flow. Nor perhaps one with a more accurate title.
    • 59 Metascore
    • 50 Roger Ebert
    Steven Spielberg, a gifted filmmaker, should have reimagined the material, should have seen it through the eyes of someone looking at dinosaurs, rather than through the eyes of someone looking at a box-office sequel.

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