For 4,258 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 The Illusionist
Lowest review score: 0 The Life of David Gale
Score distribution:
4258 movie reviews
    • 38 Metascore
    • 38 Roger Ebert
    There's not a moment in this story arc that is not predictable.
    • 42 Metascore
    • 38 Roger Ebert
    Lumbering from one expensive set piece to the next without taking the time to tell us a story that might make us care.
    • 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.
    • 50 Metascore
    • 38 Roger Ebert
    Too bad that robots, unlike humans, cannot be discovered in one movie and go on to star in another. I'd like to see No. 5 in a film more suitable to its talents.
    • 47 Metascore
    • 38 Roger Ebert
    I couldn't believe a moment of it, and never identified with little David.
    • 31 Metascore
    • 38 Roger Ebert
    Tells the story of a violent sociopath. Since it's about golf, that makes it a comedy.
    • 36 Metascore
    • 38 Roger Ebert
    A movie like this is harmless, I suppose, except for the celluloid that was killed in the process of its manufacture, but as an entertainment, it will send the kids tiptoeing through the multiplex to sneak into "Spider-Man 2."
    • 52 Metascore
    • 38 Roger Ebert
    The kind of movie that somehow succeeds in moving very, very slowly even while proceeding at a breakneck pace. It cuts quickly back and forth between nothing and nothing.
    • 38 Metascore
    • 38 Roger Ebert
    Thin and unsatisfying.
    • 55 Metascore
    • 38 Roger Ebert
    This is a surprisingly cheesy disaster epic.
    • 43 Metascore
    • 38 Roger Ebert
    If there's anything worse than a movie hammered together out of pieces of bad screenplays, it's a movie made from the scraps of good ones.
    • 42 Metascore
    • 38 Roger Ebert
    Take Me Home Tonight must have been made with people who had a great deal of nostalgia for the 1980s, a relatively unsung decade. More power to them. The movie unfortunately gives them no dialogue expanding them into recognizable human beings.
    • 57 Metascore
    • 38 Roger Ebert
    Even with Cecil B. Demented, which fails on just about every level, you've got to hand it to him (Waters): The idea for the film is kind of inspired.
    • 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.
    • 58 Metascore
    • 38 Roger Ebert
    This new Footloose is a film without wit, humor or purpose.
    • 56 Metascore
    • 38 Roger Ebert
    Feels uncomfortably stage-managed, and raises fundamental questions that it simply ignores.
    • 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?
    • 33 Metascore
    • 38 Roger Ebert
    Jogs doggedly on the treadmill of comedy, working up a sweat but not getting much of anywhere.
    • 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.
    • 25 Metascore
    • 38 Roger Ebert
    The movie offers brainless high-tech action without interesting dialogue, characters, motivation or texture.
    • 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.
    • 38 Metascore
    • 38 Roger Ebert
    A mess. It lacks the sharp narrative line and crisp comic-book clarity of the earlier films, and descends too easily into shapeless fight scenes that are chopped into so many cuts that they lack all form or rhythm.
    • 49 Metascore
    • 38 Roger Ebert
    The average issue of Mad magazine contains significantly smarter movie satire, because Mad goes for the vulnerable elements and Scary Movie 3 just wants to quote and kid.
    • 54 Metascore
    • 38 Roger Ebert
    This is a repetitive, pointless exercise in genre filmmaking--the kind of movie where you distract yourself by making a list of the sources.
    • 33 Metascore
    • 38 Roger Ebert
    Prostitutes have inspired some of the most unforgettable characters in fiction. As for all of its effect on Angelina, she might as well have saved herself the wear and tear and stayed in the laundry.
    • 56 Metascore
    • 38 Roger Ebert
    The director is James Foley, who is obviously not right for this material.
    • 44 Metascore
    • 38 Roger Ebert
    Joyful Noise is an ungainly assembly of parts that don't fit, and the strange thing is that it makes no particular effort to please its target audience, which would seem to be lovers of gospel choirs.
    • 43 Metascore
    • 38 Roger Ebert
    It's the most lugubrious and soppy love story in many a moon, a step backward for director Sam Raimi after "A Simple Plan."
    • 44 Metascore
    • 38 Roger Ebert
    Its centerpiece is 40 minutes of redundant special effects, surrounded by a love story of stunning banality.
    • 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.

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