For 4,071 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 Another Year
Lowest review score: 0 Dirty Love
Score distribution:
4,071 movie reviews
    • 82 Metascore
    • 100 Roger Ebert
    Like Malick's "Days of Heaven," it is not about plot, but about memory and regret. It remembers a summer that was not a happy summer, but there will never again be a summer so intensely felt, so alive, so valuable.
    • 81 Metascore
    • 88 Roger Ebert
    A remarkable documentary by two Irish filmmakers that is playing in theaters on its way to HBO. It is remarkable because the filmmakers, Kim Bartley and Donnacha O'Briain, had access to virtually everything that happened within the palace during the entire episode.
    • 81 Metascore
    • 88 Roger Ebert
    Seems deceptively straightforward, coming from a director with Cronenberg's quirky complexity. But think again. This is not a movie about plot, but about character.
    • 81 Metascore
    • 63 Roger Ebert
    The edge is missing from Guest's usual style. Maybe it's because his targets are, after all, so harmless.
    • 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.
    • 81 Metascore
    • 88 Roger Ebert
    Avoids all sports movie cliches, even the obligatory ending where the team comes from behind.
    • 81 Metascore
    • 88 Roger Ebert
    A complex, deeply knowledgeable story about a truly lost soul and her downward spiral.
    • 81 Metascore
    • 100 Roger Ebert
    A fresh, quirky, unusually intelligent comedy.
    • 81 Metascore
    • 100 Roger Ebert
    Juan Jose Campanella is the writer-director, and here is a man who creates a complete, engrossing, lovingly crafted film. He is filled with his stories. The Secret in Their Eyes is a rebuke to formula screenplays. We grow to know the characters, and the story pays due respect to their complexities and needs.
    • 81 Metascore
    • 88 Roger Ebert
    Derek Cianfrance, the film's writer and director, observes with great exactitude the birth and decay of a relationship. This film is alive in its details.
    • 81 Metascore
    • 88 Roger Ebert
    Forms a community that eventually envelops us.
    • 81 Metascore
    • 100 Roger Ebert
    Like the work of David Lean, it achieves the epic without losing sight of the human, and to see it is to be reminded of the way great action movies can rouse and exhilarate us, can affirm life instead of simply dramatizing its destruction.
    • 81 Metascore
    • 75 Roger Ebert
    The movie has a wide appeal, with a gap in the middle. I think it will appeal to children young enough to be untutored in boredom, and to anyone old enough to be drawn in, or to appreciate the artistry.
    • 81 Metascore
    • 100 Roger Ebert
    With access to remarkable archival footage, old TV shows, home movies and the family photo album, Brown weaves together the story of the Seegers with testimony by admirers who represent his influence and legacy.
    • 81 Metascore
    • 88 Roger Ebert
    Now Wajda has brought some small measure of rest to their names, to Poland, and to history.
    • 81 Metascore
    • 88 Roger Ebert
    Part of the greatness of this film is that it not only avoids any simple answers, but it also takes us into the awkward contradictions and internal dishonesties that help us look at the mirror each day.
    • 81 Metascore
    • 88 Roger Ebert
    This is a beautiful, puzzling film. The enigmatic quality of Huppert's performance draws us in.
    • 81 Metascore
    • 88 Roger Ebert
    Yes, this is a comedy, but it's also sad, and finally it's simply a story about trying to figure out what you love to do and then trying to figure out how to do it.
    • 81 Metascore
    • 100 Roger Ebert
    Rohmer elegantly seduces us with people who have all of the alarming unpredictability of life.
    • 81 Metascore
    • 88 Roger Ebert
    One of the pleasures of Beginners is the warmth and sincerity of the major characters. There is no villain. They begin by wanting to be happier and end by succeeding.
    • 81 Metascore
    • 88 Roger Ebert
    What Campion does is seek visual beauty to match Keats' verbal beauty. There is a shot here of Fanny in a meadow of blue flowers that is so enthralling it beggars description.
    • 81 Metascore
    • 75 Roger Ebert
    This is a smart, sensitive, perceptive film, with actors well suited to the dialogue. It underlines the difficulty of making connections outside our individual boxes of time and space.
    • 81 Metascore
    • 88 Roger Ebert
    The film proceeds like a black comedy version of "The Godfather," crossed with Oliver Stone’s "Nixon."
    • 81 Metascore
    • 100 Roger Ebert
    Arnold deserves comparison with a British master director like Ken Loach.
    • 81 Metascore
    • 88 Roger Ebert
    This is the kind of movie that cults are made of, and after Little Shop finishes its first run, I wouldn't be at all surprised to see it develop into a successor to "Rocky Horror Show," as one of those movies that fans want to include in their lives.
    • 81 Metascore
    • 88 Roger Ebert
    What a sad film this, and how filled with the mystery of human life.
    • 81 Metascore
    • 75 Roger Ebert
    Its surprisingly effective key scene involves an argument with his captain over the dictionary definitions of the words "conscience" and "justice." This may not sound exciting, but it was welcome after legions of cop movies in which such arguments are orchestrated with the f-word.
    • 81 Metascore
    • 100 Roger Ebert
    What Tarantino has is an appreciation for gut-level exploitation film appeal, combined with an artist's desire to transform that gut element with something higher, better, more daring. His films challenge taboos in our society in the most direct possible way, and at the same time add an element of parody or satire.
    • 81 Metascore
    • 100 Roger Ebert
    Skyfall triumphantly reinvents 007 in one of the best Bonds ever. This is a full-blooded, joyous, intelligent celebration of a beloved cultural icon, with Daniel Craig taking full possession of a role he previously played unconvincingly. I don't know what I expected in Bond No. 23, but certainly not an experience this invigorating.
    • 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.
    • 81 Metascore
    • 88 Roger Ebert
    For a movie audience, The Hours doesn't connect in a neat way, but introduces characters who illuminate mysteries of sex, duty and love.
    • 81 Metascore
    • 100 Roger Ebert
    This is Rourke doing astonishing physical acting.
    • 81 Metascore
    • 100 Roger Ebert
    What is remarkable is how realistic the story is.
    • 81 Metascore
    • 100 Roger Ebert
    Beresford is able to move us, one small step at a time, into the hearts of his characters. He never steps wrong on his way to a luminous final scene in which we are invited to regard one of the most privileged mysteries of life, the moment when two people allow each other to see inside.
    • 81 Metascore
    • 88 Roger Ebert
    The film is more violent, less cute than the others, but the action is not the mindless destruction of a video game; it has purpose, shape and style.
    • 81 Metascore
    • 88 Roger Ebert
    In its closing scenes, Hell and Back Again builds to an emotional and stylistic power that we didn't see coming.
    • 81 Metascore
    • 88 Roger Ebert
    Just plain fun. Or maybe not so plain. There's a lot of craft and slyness lurking beneath the circa-1960s goofiness.
    • 81 Metascore
    • 100 Roger Ebert
    If you are squeamish, here is the film to make you squeam.
    • 81 Metascore
    • 88 Roger Ebert
    The beauty of the film is in its quietness.
    • 81 Metascore
    • 88 Roger Ebert
    Has the sort of headlong confidence the genre requires. Russell finds the strong central line all screwball begins with, the seemingly serious mission or quest, and then throws darts at a map of the United States as he creates his characters.
    • 81 Metascore
    • 100 Roger Ebert
    At a time when digital techniques can show us almost anything, The Blair Witch Project is a reminder that what really scares us is the stuff we can't see.
    • 81 Metascore
    • 100 Roger Ebert
    A magnificent entertainment. It is like the flowering of all the possibilities in the original classic film.
    • 81 Metascore
    • 100 Roger Ebert
    The movie has an emotional payoff I failed to anticipate. It expresses hope in human nature. It is one of the year's best films.
    • 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.
    • 81 Metascore
    • 100 Roger Ebert
    This movie is NEW from the get-go. It could be your first Bond. In fact, it was the first Bond; it was Ian Fleming's first 007 novel, and he was still discovering who the character was.
    • 81 Metascore
    • 88 Roger Ebert
    Owen Wilson is a key to the movie's appeal. He makes Gil so sincere, so enthusiastic.
    • 81 Metascore
    • 75 Roger Ebert
    The success of Crimson Gold depends to an intriguing degree on the performance of its leading actor, a large, phlegmatic man.
    • 81 Metascore
    • 75 Roger Ebert
    A joyous movie.
    • 81 Metascore
    • 75 Roger Ebert
    Despite its creativity, the movie remains space opera and avoids the higher realms of science-fiction.
    • 81 Metascore
    • 75 Roger Ebert
    The movie is long and slow. Either you will fall into its rhythm, or you will grow restless.
    • 81 Metascore
    • 88 Roger Ebert
    Pedro Almodovar's new movie is like an ingenious toy that is a joy to behold, until you take it apart to see what makes it work, and then it never works again.
    • 81 Metascore
    • 100 Roger Ebert
    There’s joy in watching a movie like You, the Living. It is flawless in what it does, and we have no idea what that is. It’s in sympathy with its characters. It shares their sorrow, and yet is amused that each thinks his suffering is unique.
    • 81 Metascore
    • 88 Roger Ebert
    We're fully aware of the plot conventions at work here, the wheels and gears churning within the machinery, but with these actors, this velocity and the oblique economy of the dialogue, we realize we don't often see it done this well. Silver Linings Playbook is so good, it could almost be a terrific old classic.
    • 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.
    • 81 Metascore
    • 88 Roger Ebert
    Guggenheim, contends the American educational system is failing, which we have been told before. He dramatizes this failure in a painfully direct way, says what is wrong, says what is right.
    • 80 Metascore
    • 100 Roger Ebert
    It is a poem of oddness and beauty.
    • 80 Metascore
    • 100 Roger Ebert
    Here is a film that engaged me on the subject of Christ's dual nature, that caused me to think about the mystery of a being who could be both God and man. I cannot think of another film on a religious subject that has challenged me more fully. The film has offended those whose ideas about God and man it does not reflect. But then, so did Jesus.
    • 80 Metascore
    • 100 Roger Ebert
    A sports documentary as gripping, in a different way, as "Hoop Dreams."
    • 80 Metascore
    • 88 Roger Ebert
    Tells one of those rare and entrancing stories where one thing seems to happen while another thing is really happening.
    • 80 Metascore
    • 88 Roger Ebert
    Another illustration of how absorbing a film can be when the plot doesn't stand between us and a character.
    • 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.
    • 80 Metascore
    • 100 Roger Ebert
    This film ennobles filmmaking.
    • 80 Metascore
    • 88 Roger Ebert
    These opening scenes of Love and Death on Long Island are funny and touching, and Hurt brings a dignity to Giles De'Ath that transcends any snickering amusement at his infatuation.
    • 80 Metascore
    • 88 Roger Ebert
    I figured it wasn't important for me to go into detail about the photography and the editing. I just wanted to scare the bejesus out of you, which is what Food, Inc. did to me.
    • 80 Metascore
    • 100 Roger Ebert
    Three varieties of love: unfulfilled, mercenary, meaningless. All photographed with such visual beauty that watching the movie is like holding your breath so the butterfly won’t stir.
    • 80 Metascore
    • 100 Roger Ebert
    It is a great story of love and hope, told tenderly and without any great striving for effect.
    • 80 Metascore
    • 88 Roger Ebert
    If I were choosing a director to make a film about the end of the world, von Trier the gloomy Dane might be my first choice. The only other name that comes to mind is Werner Herzog's. Both understand that at such a time silly little romantic subplots take on a vast irrelevance.
    • 80 Metascore
    • 75 Roger Ebert
    Beauchamp's film has an earnest solemnity that is appropriate to the material. He has a lot of old black and white TV and newsreel footage, including shots of the accused men before, during and after their trial.
    • 80 Metascore
    • 88 Roger Ebert
    Some of Jackie's dialogue is so good it would distinguish a sitcom.
    • 80 Metascore
    • 75 Roger Ebert
    It is not the film you think it is going to be. You walk in expecting some kind of North Beach weirdo and his wild-eyed parrot theories, and you walk out still feeling a little melancholy over the plight of Connor.
    • 80 Metascore
    • 88 Roger Ebert
    A family film that shames the facile commercialism of a product like "Pokemon" and its value system based on power and greed.It is made with delicacy and beauty.
    • 80 Metascore
    • 75 Roger Ebert
    A con within a con within a con. There comes a time when we think we've gotten to the bottom, and then the floor gets pulled out again and we fall another level.
    • 80 Metascore
    • 100 Roger Ebert
    The funniest movie I have seen in a long time.
    • 80 Metascore
    • 88 Roger Ebert
    If the film is perhaps a little slow in its middle passages, maybe that is part of the idea, too, to give us a sense of the leaden passage of time, before the glory of the final redemption.
    • 80 Metascore
    • 88 Roger Ebert
    Anyone who loves movies is likely to love Cinema Paradiso.
    • 80 Metascore
    • 100 Roger Ebert
    Powerfully, painfully honest.
    • 80 Metascore
    • 88 Roger Ebert
    A movie like this, with the appearance of new characters and situations, focuses us; we watch more intently, because it is important what happens.
    • 80 Metascore
    • 100 Roger Ebert
    The movie is a great American document, but it's also entertaining. (Review of Original Release)
    • 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.
    • 80 Metascore
    • 75 Roger Ebert
    Some of the political undertones may go astray, but the emotional center of the film is touching and honest.
    • 80 Metascore
    • 88 Roger Ebert
    This is no ordinary musical. Part of its success comes because it doesn't fall for the old cliché that musicals have to make you happy. Instead of cheapening the movie version by lightening its load of despair, director Bob Fosse has gone right to the bleak heart of the material and stayed there well enough to win an Academy Award for Best Director.
    • 80 Metascore
    • 88 Roger Ebert
    This is a film by the Coen Brothers, and this is the first straight genre exercise in their career. It's a loving one. Their craftsmanship is a wonder. Their casting is always inspired and exact. The cinematography by Roger Deakins reminds us of the glory that was, and can still be, the Western.
    • 80 Metascore
    • 88 Roger Ebert
    This movie is remarkable in that it seems to be interested only in facts.
    • 80 Metascore
    • 88 Roger Ebert
    The brothers Maeda are pure gold; the film captures what feels like effortless joy in their lives, and it is never something they seem to be reaching for.
    • 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.
    • 80 Metascore
    • 88 Roger Ebert
    The final scene of the film contains an appearance and a revelation of astonishing emotional power; not since the last shots of "Schindler's List" have I been so overcome with the realization that real people, in recent historical times, had to undergo such inhumanity.
    • 80 Metascore
    • 75 Roger Ebert
    As we watch them drilling with flashcards and worksheets, we hope they will win, but we're not sure what good it will do them.
    • 80 Metascore
    • 100 Roger Ebert
    A Room with a View enjoys its storytelling so much that I enjoyed the very process of it. The story moved slowly, it seemed, for the same reason you try to make ice cream last: because it's so good.
    • 80 Metascore
    • 100 Roger Ebert
    It is told from and by an adult sensibility that understands loneliness, gratitude and the intense curiosity we feel for other lives, man and beast.
    • 80 Metascore
    • 63 Roger Ebert
    Good fun, especially if you like Leone's way of savoring the last morsel of every scene. (Review of Original Release)
    • 80 Metascore
    • 75 Roger Ebert
    The movie's success rests largely on the shoulders of Fernanda Montenegro, an actress who successfully defeats any temptation to allow sentimentality to wreck her relationship with the child.
    • 80 Metascore
    • 100 Roger Ebert
    Here is a film of great beauty and attention, and watching it is a form of meditation. Sometimes films take a great stride outside the narrow space of narrative tradition and present us with things to think about. Here mostly what I thought was, why must man sometimes be so cruel?
    • 80 Metascore
    • 63 Roger Ebert
    While the movie contains delights and inventions without pause and has undeniable charm, while it is always wonderful to watch, while it has the Miyazaki visual wonderment, it's a disappointment, compared to his recent work.
    • 80 Metascore
    • 75 Roger Ebert
    The movie is funny, sassy and intelligent in that moronic Simpsons' way.
    • 80 Metascore
    • 88 Roger Ebert
    Riding Giants is about altogether another reality. The overarching fact about these surfers is the degree of their obsession.
    • 80 Metascore
    • 75 Roger Ebert
    The movie gets a little confused toward the end, I think, as its writer and director, Lea Pool, tries to settle things that could have been left unresolved.
    • 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.
    • 80 Metascore
    • 100 Roger Ebert
    The Band’s Visit has not provided any of the narrative payoffs we might have expected, but has provided something more valuable: An interlude involving two “enemies,” Arabs and Israelis, that shows them both as only ordinary people with ordinary hopes, lives and disappointments. It has also shown us two souls with rare beauty.
    • 80 Metascore
    • 75 Roger Ebert
    This is a gloomy film with weird characters doing nasty things. I've heard of eating chocolate-covered insects, but not when they're alive.
    • 80 Metascore
    • 88 Roger Ebert
    Mamet's dialogue has a kind of logic, a cadence, that allows people to arrive in triumph at the ends of sentences we could not possibly have imagined. There is great energy in it. You can see the joy with which these actors get their teeth into these great lines.