For 4,078 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 11.6 points higher than other critics. (0-100 point scale)

Roger Ebert's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 The Informant!
Lowest review score: 0 I Spit on Your Grave
Score distribution:
4,078 movie reviews
    • 25 Metascore
    • 25 Roger Ebert
    A garage sale of gay issues, harnessed to a plot as exhausted as a junkman's horse.
    • 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.
    • 38 Metascore
    • 25 Roger Ebert
    The movie is so choppy in its nervous editing that a lot of the time we're simply watching senseless kinetic action.
    • 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.
    • 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.
    • 59 Metascore
    • 25 Roger Ebert
    The screenplay reads like a collaboration between Jekyll and Hyde.
    • 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.
    • 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.
    • 41 Metascore
    • 25 Roger Ebert
    A horrible mess of a movie, without shape, trajectory or purpose--a one joke movie, if it had one joke.
    • 31 Metascore
    • 25 Roger Ebert
    Any plot discipline (necessary so that we care about some characters and not the others) has been lost in an orgy of special effects and general mayhem.
    • 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.
    • 31 Metascore
    • 25 Roger Ebert
    Isn't a bad movie, just a reprehensible one. It presents as comedy things that are not amusing. If you think this movie is funny, that tells me things about you I don't want to know.
    • 36 Metascore
    • 25 Roger Ebert
    One of those movies that never convince you its stories are really happening.
    • 21 Metascore
    • 25 Roger Ebert
    Assembles the building blocks of idiot-proof slasher movies: Stings, Snicker-Snacks, false alarms and point-of-view baits-and-switches.
    • 52 Metascore
    • 25 Roger Ebert
    The best shot in this film is the first one. Not a good sign.
    • 24 Metascore
    • 25 Roger Ebert
    A fog of gloom lowers over The Whole Ten Yards, as actors who know they're in a turkey try their best to prevail.
    • 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.
    • 52 Metascore
    • 25 Roger Ebert
    It's the worst kind of bad film: the kind that gets you all worked up and then lets you down, instead of just being lousy from the first shot.
    • 41 Metascore
    • 25 Roger Ebert
    Sandler is making a tactical error when he creates a character whose manner and voice has the effect of fingernails on a blackboard, and then expects us to hang in there for a whole movie.
    • 33 Metascore
    • 25 Roger Ebert
    A lame and labored comedy.
    • 25 Metascore
    • 25 Roger Ebert
    A terrible movie, sappy and dead in the water.
    • 27 Metascore
    • 25 Roger Ebert
    The director, whose name is Pitof, was probably issued with two names at birth and would be wise to use the other one on his next project.
    • 44 Metascore
    • 25 Roger Ebert
    A colossal miscalculation, a movie based on a premise that cannot support it, a premise so transparent it would be laughable were the movie not so deadly solemn. It's a flimsy excuse for a plot, with characters who move below the one-dimensional and enter Flatland.
    • 29 Metascore
    • 25 Roger Ebert
    There are scenes here where Breillat deliberately disgusts us, not because we are disgusted by the natural life functions of women, as she implies, but simply because The Woman does things that would make any reasonable Man, or Woman, for that matter, throw up.
    • 56 Metascore
    • 25 Roger Ebert
    Monotonous, repetitive and sometimes wildly wrong in what it hopes is funny.
    • 33 Metascore
    • 25 Roger Ebert
    Her dad was right about one thing. Something terrible did happen to her (Duff) in Los Angeles. She made this movie.
    • 27 Metascore
    • 25 Roger Ebert
    In a film that is wall-to-wall idiocy, the most tiresome delusion is that car chases are funny.
    • 64 Metascore
    • 25 Roger Ebert
    Like a cocky teenager who's had a couple of drinks before the party, they don't have a plan for who they want to offend, only an intention to be as offensive as possible.
    • 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.
    • 22 Metascore
    • 25 Roger Ebert
    Doesn't have anything wrong with it that couldn't be fixed by adding Ebenezer Scrooge and Bad Santa to the cast. It's a holiday movie of stunning awfulness that gets even worse when it turns gooey at the end.

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