For 4,035 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 12.2 points higher than other critics. (0-100 point scale)

Roger Ebert's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 King of the Hill
Lowest review score: 0 The Human Centipede II (Full Sequence)
Score distribution:
4,035 movie reviews
    • 42 Metascore
    • 38 Roger Ebert
    A deplorable film with this message: If you're a 14-year-old girl who has been brutally raped and murdered by a serial killer, you have a lot to look forward to.
    • 27 Metascore
    • 38 Roger Ebert
    Everybody knew to wait for the outtakes during the closing credits, because you'd see him miss a fire escape or land wrong in the truck going under the bridge. Now the outtakes involve his use of the English language.
    • 27 Metascore
    • 38 Roger Ebert
    What possible reason was there for anyone to make Did You Hear About the Morgans? Or should I say "remake," because this movie has been made and over and over again, and oh, so much better.
    • 31 Metascore
    • 38 Roger Ebert
    A lot of the dialogue is intended as funny, but man, is it lame.
    • 17 Metascore
    • 38 Roger Ebert
    The screenplay by Kim Barker requires Bullock to behave in an essentially disturbing way that began to wear on me. It begins as merely peculiar, moves on to miscalculation and becomes seriously annoying.
    • 34 Metascore
    • 38 Roger Ebert
    The Fourth Kind is a pseudo-documentary like "Paranormal Activity" and "The Blair Witch Project." But unlike those two, which just forge ahead with their home video cameras, this one encumbers its flow with ceaseless reminders that it is a dramatization of real events.
    • 17 Metascore
    • 38 Roger Ebert
    The movie is set up as a valentine to Vardalos. She should try sending herself flowers.
    • 43 Metascore
    • 38 Roger Ebert
    The movie has good special effects and suitably gruesome characters, but it's bloodless.
    • 31 Metascore
    • 38 Roger Ebert
    Tells the story of a violent sociopath. Since it's about golf, that makes it a comedy.
    • 32 Metascore
    • 38 Roger Ebert
    Certainly better than "Transformers: Revenge of the Fallen." How so? Admittedly, it doesn't have as much cleavage. But the high-tech hardware is more fun to look at than the transforming robots, the plot is as preposterous, and although the noise is just as loud, it's more the deep bass rumbles of explosions than the ear-piercing bang of steel robots pounding on each other.
    • 34 Metascore
    • 38 Roger Ebert
    Plays like a collision between leftover bits and pieces of Marvel superhero stories. It can't decide what tone to strike.
    • 50 Metascore
    • 38 Roger Ebert
    Strange, that movies about Satan always require Catholics. You never see your Presbyterians or Episcopalians hurling down demons.
    • 20 Metascore
    • 38 Roger Ebert
    What we basically have here is a license for the filmmakers to do whatever they want to do with the special effects, while the plot, like Wile E. Coyote, keeps running into the wall.
    • 37 Metascore
    • 38 Roger Ebert
    A classic species of bore: a self-referential movie with no self to refer to. One character after another, one scene after another, one cute line of dialogue after another, refers to another movie, a similar character, a contrasting image, or whatever.
    • 34 Metascore
    • 38 Roger Ebert
    It's unnecessary in the sense that there is no good reason to go and actually see it.
    • 42 Metascore
    • 38 Roger Ebert
    At some point during the pitch meetings for D.E.B.S. someone must certainly have used the words "Charlie's Lesbians."
    • 33 Metascore
    • 38 Roger Ebert
    House of D is the kind of movie that particularly makes me cringe, because it has such a shameless desire to please; like Uriah Heep, it bows and scrapes and wipes its sweaty palm on its trouser leg, and also like Uriah Heep, it privately thinks it is superior.
    • 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.
    • 41 Metascore
    • 38 Roger Ebert
    Jiminy Glick needs definition if he's to work as a character. We have to sense a consistent comic personality, and we don't; Short changes gears and redefines the character whenever he needs a laugh.
    • 34 Metascore
    • 38 Roger Ebert
    The kind of movie that would be so bad it's good, except it's not bad enough to be good enough.
    • 35 Metascore
    • 38 Roger Ebert
    Stealth is an offense against taste, intelligence and the noise pollution code -- a dumbed-down "Top Gun" crossed with the HAL 9000 plot from "2001."
    • 33 Metascore
    • 38 Roger Ebert
    Nobody needed to make it, nobody needs to see it, Jackson and Levy are too successful to waste time with it. It plays less like a film than like a deal.
    • 33 Metascore
    • 38 Roger Ebert
    A tedious exercise in style, intended as a meditation on guns and violence in America but more of a meditation on itself, the kind of meditation that invites the mind to stray.
    • 30 Metascore
    • 38 Roger Ebert
    There must be humor here somewhere.
    • 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.
    • 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.
    • 38 Metascore
    • 38 Roger Ebert
    There's not a moment in this story arc that is not predictable.
    • 51 Metascore
    • 38 Roger Ebert
    Boring, repetitive and maddening about a subject you'd think would be fairly interesting: snowboarding down a mountain.
    • 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.
    • 37 Metascore
    • 38 Roger Ebert
    It is the anti-Sundance film, an exhausted wheeze of bankrupt cliches and cardboard characters, the kind of film that has no visible reason for existing, except that everybody got paid.