For 4,300 reviews, this critic has graded:
  • 74% higher than the average critic
  • 2% same as the average critic
  • 24% lower than the average critic
On average, this critic grades 9.6 points higher than other critics. (0-100 point scale)

Roger Ebert's Scores

  • Movies
  • TV
Average review score: 72
Highest review score: 100 Easy Rider
Lowest review score: 0 Tomcats
Score distribution:
4300 movie reviews
    • 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
    • 32 Metascore
    • 38 Roger Ebert
    The movie doesn't know how odd it seems to cut from the bloodshed in the ring to the dialogue of the supporting players, who still think they're in a comedy.
    • 35 Metascore
    • 38 Roger Ebert
    How could director Lawrence Kasdan and writer William Goldman be responsible for a film that goes so awesomely wrong?
    • 41 Metascore
    • 38 Roger Ebert
    Here is a film so dreary and conventional that it took an act of the will to keep me in the theater.
    • 36 Metascore
    • 38 Roger Ebert
    There's nothing wrong with Fast Food Fast Women that a casting director and a rewrite couldn't have fixed.
    • 22 Metascore
    • 38 Roger Ebert
    Why, oh, why, was this movie necessary?
    • 40 Metascore
    • 38 Roger Ebert
    The movie never takes off; it's a bright idea the filmmakers were unable to breathe life into.
    • 40 Metascore
    • 38 Roger Ebert
    There is some dark humor in the movie, of the kind where you laugh that you may not gag.
    • 27 Metascore
    • 38 Roger Ebert
    Opens with 15 funny minutes and then goes dead in the water.
    • 18 Metascore
    • 38 Roger Ebert
    Very seriously confused in its objectives.
    • 43 Metascore
    • 38 Roger Ebert
    Is there another great modern writer so hard to translate successfully into cinema? Saul Bellow? Again, it's all in the language. The only thing Saul and Gabo have in common is the Nobel Prize. Now that's interesting.
    • 42 Metascore
    • 38 Roger Ebert
    Sanctum tells the story of a terrifying adventure in an incompetent way. Some of it is exciting, the ending is involving, and all of it is a poster child for the horrors of 3-D used badly.
    • 31 Metascore
    • 38 Roger Ebert
    [Robin Williams] has been ill-served by a screenplay that isn't curious about what his life would really be like.
    • 5 Metascore
    • 38 Roger Ebert
    This movie should have been struck by a lightning bolt.
    • 27 Metascore
    • 38 Roger Ebert
    The Perfect Sleep puts me in mind of a flywheel spinning in the void. It is all burnished brass and shining steel, perfectly balanced as it hums in its orbit; yet, because it occupies a void, it satisfies only itself and touches nothing else. Here is a movie that goes about its business without regard for an audience.
    • 39 Metascore
    • 38 Roger Ebert
    The movie attempts to jerk tears with one clunky device after another, in a plot that is a perfect storm of cliche and contrivance. In fact, it even contains a storm -- an imperfect one.
    • 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.
    • 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."
    • 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.
    • 37 Metascore
    • 38 Roger Ebert
    The Crew is all contrivance and we don't believe a minute of it.
    • 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.
    • 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.
    • 26 Metascore
    • 38 Roger Ebert
    Walks like a thriller and talks like a thriller, but it squawks like a turkey.
    • 45 Metascore
    • 38 Roger Ebert
    Blindness is one of the most unpleasant, not to say unendurable, films I've ever seen.
    • 35 Metascore
    • 38 Roger Ebert
    If Flashdance had spent just a little more effort getting to know the heroine of its story, and a little less time trying to rip off "Saturday Night Fever," it might have been a much better film.
    • 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.
    • 43 Metascore
    • 38 Roger Ebert
    Did you (Garry Marshall) deliberately assemble this movie from off-the-shelf parts or did it just happen that way? The film is like a homage to the cliches and obligatory stereotypes of its genre.
    • 47 Metascore
    • 38 Roger Ebert
    Bored out of my mind during this spectacle, I found my attention wandering to the subject of physics.
    • 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.
    • 51 Metascore
    • 38 Roger Ebert
    Boring, repetitive and maddening about a subject you'd think would be fairly interesting: snowboarding down a mountain.

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