For 4,377 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 9.4 points higher than other critics. (0-100 point scale)

Roger Ebert's Scores

  • Movies
  • TV
Average review score: 72
Highest review score: 100 The Upside of Anger
Lowest review score: 0 I Spit on Your Grave
Score distribution:
4377 movie reviews
    • 59 Metascore
    • 25 Roger Ebert
    Inexplicably, there are people who still haven't had enough of these movies. The first was a nifty novelty. Now the appeal has worn threadbare.
    • 34 Metascore
    • 25 Roger Ebert
    The movie is pretty bad, all right. But it has a certain charm. It's so completely wrong-headed from beginning to end that it develops a doomed fascination.
    • 39 Metascore
    • 25 Roger Ebert
    The movie seems to reinvent itself from moment to moment, darting between styles like a squirrel with too many nuts. There is one performance that works, sort of, and it is by Marisa Tomei,
    • 52 Metascore
    • 25 Roger Ebert
    The best shot in this film is the first one. Not a good sign.
    • 37 Metascore
    • 25 Roger Ebert
    Too many characters, not enough plot, and a disconnect between the two stars' acting styles.
    • 23 Metascore
    • 25 Roger Ebert
    It's a movie with so many inconsistencies, improbabilities, unanswered questions and unfinished characters that we have to suspend not only disbelief but also intelligence.
    • 28 Metascore
    • 25 Roger Ebert
    Cool World is a seriously troubled film, so ragged I doubt if even the director can explain the story line.
    • 26 Metascore
    • 25 Roger Ebert
    Laughter for me was such a physical impossibility during National Lampoon's Van Wilder that had I not been pledged to sit through the film, I would have lifted myself up by my bootstraps and fled.
    • 65 Metascore
    • 25 Roger Ebert
    The filmmakers rely so heavily on cliches, on stock characters in old situations, that it's as if they never really had any confidence in their performers.
    • 42 Metascore
    • 25 Roger Ebert
    A movie about two old codgers who are nothing like people, both suffering from cancer that is nothing like cancer, and setting off on adventures that are nothing like possible.
    • 35 Metascore
    • 25 Roger Ebert
    A horrible experience of unbearable length, briefly punctuated by three or four amusing moments.
    • 46 Metascore
    • 25 Roger Ebert
    Leads us down the garden path of romance, only to abandon us by the compost heap of uplifting endings. And it's not even clever enough to give us the right happy ending. It gives us the wrong happy ending.
    • 32 Metascore
    • 25 Roger Ebert
    UHF
    The result is a very unfunny movie. It's routine, predictable, and dumb - real dumb.
    • 25 Metascore
    • 25 Roger Ebert
    The movie was executive produced by Quentin Tarantino. Shame on him. He intends it no doubt as another homage to grindhouse pictures, but I've seen a lot of them, and they were nowhere near this bad. "Hell's Angels on Wheels," for example: pretty good.
    • 25 Metascore
    • 25 Roger Ebert
    For years there have been reports of the death of the Western. Now comes American Outlaws, proof that even the B Western is dead.
    • 49 Metascore
    • 25 Roger Ebert
    Sarah Michelle Gellar, the nominal star, has been in her share of horror movies, and all by herself could have written and directed a better one than this.
    • 42 Metascore
    • 25 Roger Ebert
    The philosopher Thomas Hobbes tells us life can be "poor, nasty, brutish and short." So is this movie.
    • 42 Metascore
    • 25 Roger Ebert
    An assault on the eyes, the ears, the brain, common sense and the human desire to be entertained.
    • 49 Metascore
    • 25 Roger Ebert
    Sometimes it works to show their lips moving (it certainly did in "Babe"), but in Good Boy! the jaw movements are so mechanical it doesn't look like speech, it looks like a film loop.
    • 27 Metascore
    • 25 Roger Ebert
    The Perfect Man crawls hand over bloody hand up the stony face of this plot, while we in the audience do not laugh because it is not nice to laugh at those less fortunate than ourselves, and the people in this movie are less fortunate than the people in just about any other movie I can think of, simply because they are in it.
    • 37 Metascore
    • 25 Roger Ebert
    Although the movie may appeal to kids in the lower grades, it's pretty slow, flat and dumb.
    • 28 Metascore
    • 25 Roger Ebert
    Shameless in its use of mental retardation as a gimmick, a prop and a plot device. Anyone with any knowledge of retardation is likely to find the film offensive.
    • 36 Metascore
    • 25 Roger Ebert
    Supplies us with a first-class creature, a fourth-rate story, and dialogue possibly created by feeding the screenplay into a pasta maker.
    • 49 Metascore
    • 25 Roger Ebert
    A movie that contains one funny scene and 91 minutes of running time to kill.
    • 42 Metascore
    • 25 Roger Ebert
    Anything that holds our interest can be entertaining, in a way, but the movie seems to have an unwholesome determination to show us the victims being terrified and threatened. When I left the screening, I just didn't feel right.
    • 24 Metascore
    • 25 Roger Ebert
    So ludicrous in so many different ways it achieves a kind of forlorn grandeur.
    • 31 Metascore
    • 25 Roger Ebert
    Your Highness is a juvenile excrescence that feels like the work of 11-year-old boys in love with dungeons, dragons, warrior women, pot, boobs and four-letter words.
    • 26 Metascore
    • 25 Roger Ebert
    A movie, based on the popular Dean Koontz novel, that seems to have been made by grinding up other films and feeding them to this one.
    • 48 Metascore
    • 25 Roger Ebert
    I'm Gonna Git You Sucka is a comedy that feeds off the blaxploitation movies, and although, like all good satires, it is cheerfully willing to be offensive, it is almost completely incapable of being funny.
    • 48 Metascore
    • 25 Roger Ebert
    To call A Lot like Love dead in the water is an insult to water.

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