For 4,115 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 10.2 points higher than other critics. (0-100 point scale)

Roger Ebert's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 The Ghost Writer
Lowest review score: 0 Tomcats
Score distribution:
4115 movie reviews
    • 43 Metascore
    • 38 Roger Ebert
    If you're a fan of extreme skateboarding, motorcycling and motocross, this is the movie for you. If not, not. And even if you are, what's in the film other than what you might have seen on TV? Yes, it's in 3D, which adds nothing and dims the picture.
    • 77 Metascore
    • 38 Roger Ebert
    To the degree that you will want to see this movie, it will be because of the surprise, and so I will say no more, except to say that the "solution," when it comes, solves little - unless there is really little to solve, which is also a possibility.
    • 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.
    • 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.
    • 45 Metascore
    • 38 Roger Ebert
    Ansiedad is a smart charmer, and well-played by Cierra Ramirez, she should really be above this sort of thing - above the whole movie, really.
    • 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."
    • 49 Metascore
    • 38 Roger Ebert
    A labored and sour comedy.
    • 30 Metascore
    • 38 Roger Ebert
    The kind of movie beloved by people who never go to the movies, because they are primarily interested in something else--the Civil War, for example--and think historical accuracy is a virtue instead of an attribute.
    • 56 Metascore
    • 38 Roger Ebert
    The movie adds up to a few good ideas and a lot of bad ones, wandering around in search of an organizing principle.
    • 52 Metascore
    • 38 Roger Ebert
    The plot risks bursting under the strain of its coincidences, as Sara and Jon fly to opposite coasts at the same time and engage in a series of Idiot Plot moves so extreme and wrongheaded that even other characters in the same scene should start shouting helpful suggestions.
    • 64 Metascore
    • 38 Roger Ebert
    There is a kind of studied stupidity that sometimes passes as humor, and Jared Hess' Napoleon Dynamite pushes it as far as it can go.
    • 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.
    • 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.
    • 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.
    • 53 Metascore
    • 38 Roger Ebert
    An efficient delivery system for Gotcha! Moments, of which it has about 19. Audiences who want to be Gotchaed will enjoy it.
    • 43 Metascore
    • 38 Roger Ebert
    The film is a sharp disappointment to those who have been waiting for 10 years since the master's last film. The best that can be hoped is that, having made a film, Coppola has the taste again, and will go on to make many more, nothing like this.
    • 26 Metascore
    • 38 Roger Ebert
    The poster art for A Thousand Words shows Eddie Murphy with duct tape over his mouth, which as a promotional idea ranks right up there with Fred Astaire in leg irons.
    • 27 Metascore
    • 25 Roger Ebert
    Some of these people make my skin crawl. The characters of Sex and the City 2 are flyweight bubbleheads living in a world which rarely requires three sentences in a row.
    • 24 Metascore
    • 25 Roger Ebert
    An idiotic ode to macho horseshite (to employ an ancient Irish word). It is however distinguished by superb cinematography.
    • 35 Metascore
    • 25 Roger Ebert
    Not only am I ill-prepared to review the movie, but I venture to guess that anyone who is not literally a member of a Scooby-Doo fan club would be equally incapable. This movie exists in a closed universe, and the rest of us are aliens. The Internet was invented so that you can find someone else's review of Scooby-Doo. Start surfing.
    • 12 Metascore
    • 25 Roger Ebert
    Pants and wheezes and hurls itself exhausted across the finish line after barely 65 minutes of movie, and then follows it with 15 minutes of end credits in an attempt to clock in as a feature film.
    • 34 Metascore
    • 25 Roger Ebert
    An agonizingly creaky movie that laboriously plods through a plot so contrived that the only thing real about it is its length.
    • 31 Metascore
    • 25 Roger Ebert
    The characters in these movies exist in a Twilight Zone where thousands of rounds of ammunition are fired, but no one ever gets shot unless the plot requires him to.
    • 31 Metascore
    • 25 Roger Ebert
    Monster-in-Law fails the Gene Siskel Test: "Is this film more interesting than a documentary of the same actors having lunch?"
    • 41 Metascore
    • 25 Roger Ebert
    This project is dead in the water. Read the book. Better still, read "Victory."
    • 33 Metascore
    • 25 Roger Ebert
    The people in this movie are dumber than a box of Tinkertoys.
    • 30 Metascore
    • 25 Roger Ebert
    The Spirit is mannered to the point of madness. There is not a trace of human emotion in it. To call the characters cardboard is to insult a useful packing material.
    • 26 Metascore
    • 25 Roger Ebert
    The sad thing about A Night at the Roxbury is that the characters are in a one-joke movie, and they're the joke.
    • 30 Metascore
    • 25 Roger Ebert
    Just when it seems about to become a real corker of an adventure movie, plunges into incomprehensible action, idiotic dialogue, inexplicable motivations, causes without effects, effects without causes, and general lunacy. What a mess.
    • 19 Metascore
    • 25 Roger Ebert
    An inept assembly of ill-matched plot points, meandering through a production that has attractive art direction (despite the immobile mouths).

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