For 4,403 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 9.3 points higher than other critics. (0-100 point scale)

Roger Ebert's Scores

  • Movies
  • TV
Average review score: 72
Highest review score: 100 What's Eating Gilbert Grape
Lowest review score: 0 I Spit on Your Grave
Score distribution:
4403 movie reviews
    • 39 Metascore
    • 50 Roger Ebert
    After seeing Gere and Roberts play much smarter people (even in romantic comedies), it is painful to see them dumbed down here. The screenplay is so sluggish, they're like Derby winners made to carry extra weight.
    • 53 Metascore
    • 50 Roger Ebert
    Never quite attains takeoff velocity.
    • 61 Metascore
    • 50 Roger Ebert
    Never comes alive.
    • 50 Metascore
    • 50 Roger Ebert
    That the movie is fun is undeniable. That it is bad is inarguable.
    • 16 Metascore
    • 50 Roger Ebert
    Strange, how good feardotcom is, and how bad. The screenplay is a mess, and yet the visuals are so creative this is one of the rare bad films you might actually want to see.
    • 69 Metascore
    • 50 Roger Ebert
    The movie's problem is that no one seemed to have any fun making it, and it's hard to have much fun watching it. It's a depressing experience.
    • 46 Metascore
    • 50 Roger Ebert
    A movie with a lot of funny one-liners, but no place to go with them.
    • 29 Metascore
    • 50 Roger Ebert
    There's a point at which the plot crosses an invisible line, becoming so preposterous that it's no longer moving and is just plain weird.
    • 35 Metascore
    • 50 Roger Ebert
    Love is blind, and movies about that blindness can be maddening.
    • 33 Metascore
    • 50 Roger Ebert
    Class is a prep-school retread of "The Graduate" that knows some of its scenes are funny and some are serious, but never figures out quite how they should go together. The result is an uncomfortable, inconsistent movie that doesn't really pay off -- a movie in which everything points to two absolutely key scenes that are, inexplicably, the two most awkward scenes in the film.
    • 50 Metascore
    • 50 Roger Ebert
    Too cluttered and busy, but as a glimpse into the affluent culture of a country with economic extremes, it's intriguing. Occasionally it's funny and moving, too.
    • 36 Metascore
    • 50 Roger Ebert
    All of this is intriguing material, but the movie doesn't do much with it.
    • 51 Metascore
    • 50 Roger Ebert
    Proves to be unsatisfactory because it establishes a well-defined group of characters and shows them disrupted by the careless behavior of a tiresome young woman and two adults who allow themselves to be motivated in one way or another by her infectious libido.
    • 47 Metascore
    • 50 Roger Ebert
    In the real world, Elle Woods would be chewed up faster than one of little Bruiser's Milk-Bones.
    • 35 Metascore
    • 50 Roger Ebert
    The screenplay creates a sense of foreboding and afterboding, but no actual boding.
    • 50 Metascore
    • 50 Roger Ebert
    There is no entry portal in The Rules of Attraction, and I spent most of the movie feeling depressed by the shallow, selfish, greedy characters. I wanted to be at another party.
    • 65 Metascore
    • 50 Roger Ebert
    It's a long, shapeless, undisciplined mess, and every once in awhile it generates a big laugh.
    • 51 Metascore
    • 50 Roger Ebert
    Robin Hood: Prince of Thieves is a murky, unfocused, violent and depressing version of the classic story, with little of the lightheartedness and romance we expect from Robin Hood.
    • 50 Metascore
    • 50 Roger Ebert
    They had a great idea here. It's too bad they didn't follow it through on a human level, instead of making it feel made up and artificial and twice-removed, from the everyday experience it pretends to be about.
    • 43 Metascore
    • 50 Roger Ebert
    As an idea, the film is fascinating, but as an experience it grows tedious; the concerts lack closeups, the sex lacks context, and Antarctica could use a few penguins.
    • 57 Metascore
    • 50 Roger Ebert
    That the new Casanova lacks such wit is fatal. Heath Ledger is a good actor but Hallstrom's film is busy and unfocused, giving us the view of Casanova's ceaseless activity but not the excitement. It's a sitcom when what is wanted is comic opera.
    • 41 Metascore
    • 50 Roger Ebert
    The movie is pleasant enough, but never quite reaches critical mass as a comedy.
    • 53 Metascore
    • 50 Roger Ebert
    They are, in fact, likable. That's why their comedy is so sad.
    • 41 Metascore
    • 50 Roger Ebert
    The plot is lame, but that doesn't matter, because Dumb and Dumber is essentially pitched at the level of an "Airplane!"-style movie, with rapid-fire sight gags.
    • 38 Metascore
    • 50 Roger Ebert
    My own feeling is that the film is one more assault on the notion that young American audiences might be expected to enjoy films with at least some subtlety and depth and pacing and occasional quietness. The filmmakers apparently believe their audience suffers from ADD, and so they supply breakneck action and screaming sound volumes at all times.
    • 45 Metascore
    • 50 Roger Ebert
    The Distinguished Gentleman prefers to give us measured laughs at a leisurely pace, and then it settles for the sellout upbeat ending. Ho hum.
    • 52 Metascore
    • 50 Roger Ebert
    The Fog is encouraging because it contains another demonstration of Carpenter's considerable directing talents. He picked the wrong story, I think, but he directs it with a flourish. This isn't a great movie but it does show great promise from Carpenter.
    • 42 Metascore
    • 50 Roger Ebert
    A few loopholes I can forgive. But when a plot is riddled with them -- I get distracted.
    • 42 Metascore
    • 50 Roger Ebert
    Soppy and sentimental, it evokes "Divine Secrets of the Ya-Ya Sisterhood" without improving on it.
    • 70 Metascore
    • 50 Roger Ebert
    On a technical level, there's a lot to be said for Die Hard. It's when we get to some of the unnecessary adornments of the script that the movie shoots itself in the foot.

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