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 12.3 points higher than other critics. (0-100 point scale)

Roger Ebert's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 Wonder Boys
Lowest review score: 0 Slackers
Score distribution:
4,035 movie reviews
    • 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.
    • 49 Metascore
    • 38 Roger Ebert
    A labored and sour comedy.
    • 44 Metascore
    • 38 Roger Ebert
    A film overgrown with so many directorial flourishes that the heroes need machetes to hack their way to within view of the audience.
    • 24 Metascore
    • 38 Roger Ebert
    Movies like this demonstrate that when it comes to stupidity and vulgarity, only the best will do for our children.
    • 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.
    • 28 Metascore
    • 38 Roger Ebert
    Another one of those road comedies where Southern roots are supposed to make boring people seem colorful. If these characters were from Minneapolis or Denver, no way anyone would make a film about them.
    • 20 Metascore
    • 38 Roger Ebert
    Joe Dirt is so obviously a construction that it is impossible to find anything human about him; he is a concept, not a person.
    • 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.
    • 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.
    • 24 Metascore
    • 38 Roger Ebert
    There's no chemistry between Deeds and Babe, but then how could there be, considering that their characters have no existence, except as the puppets in scenes of plot manipulation.
    • 30 Metascore
    • 38 Roger Ebert
    I laughed, yes, I did, several times during Deuce Bigalow: Male Gigolo. That's proof, if any is required, that I still possess streaks of immaturity and vulgarity.
    • 32 Metascore
    • 38 Roger Ebert
    A big, ugly, ungainly device to give teenagers the impression they are seeing a movie.
    • 35 Metascore
    • 38 Roger Ebert
    How could director Lawrence Kasdan and writer William Goldman be responsible for a film that goes so awesomely wrong?
    • 36 Metascore
    • 38 Roger Ebert
    The plot was an arbitrary concoction.
    • 42 Metascore
    • 38 Roger Ebert
    It's a simple, wholesome parable, crashingly obvious, and we sit patiently while the characters and the screenplay slowly arrive at the inevitable conclusion. It needs to take some chances and surprise us.
    • 29 Metascore
    • 38 Roger Ebert
    The movie is a paid holiday for its director, Harold Becker. I say this because I know what Becker is capable of.
    • 25 Metascore
    • 38 Roger Ebert
    It's surprising to see a director like Michael Apted and an actress like Jennifer Lopez associated with such tacky material.
    • 44 Metascore
    • 38 Roger Ebert
    Its centerpiece is 40 minutes of redundant special effects, surrounded by a love story of stunning banality.
    • 32 Metascore
    • 38 Roger Ebert
    Emma writes everything down and then offers helpful suggestions, although she fails to supply the most useful observation of all, which would be to observe that the entire novel is complete crap.
    • 30 Metascore
    • 38 Roger Ebert
    The movie is silly beyond comprehension, and even if it weren't silly, it would still be beyond comprehension.
    • 32 Metascore
    • 38 Roger Ebert
    It knows the words but not the music; while the Farrelly brothers got away with murder, The Sweetest Thing commits suicide.
    • 38 Metascore
    • 38 Roger Ebert
    Thin and unsatisfying.
    • 14 Metascore
    • 38 Roger Ebert
    Dungeons & Dragons looks like they threw away the game and photographed the box it came in.
    • 30 Metascore
    • 38 Roger Ebert
    The kind of movie Mad magazine prays for. It is so earnest, so overwrought and so wildly implausible that it begs to be parodied.
    • 39 Metascore
    • 38 Roger Ebert
    There must still be a kind of moony young adolescent girl for which this film would be enormously appealing, if television has not already exterminated the domestic example of that species.
    • 37 Metascore
    • 38 Roger Ebert
    The Crew is all contrivance and we don't believe a minute of it.
    • 27 Metascore
    • 38 Roger Ebert
    Opens with 15 funny minutes and then goes dead in the 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?
    • 6 Metascore
    • 38 Roger Ebert
    Bad films are easy to make, but a film as unpleasant as Baby Geniuses' achieves a kind of grandeur.
    • 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.