For 4,338 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 9.5 points higher than other critics. (0-100 point scale)

Roger Ebert's Scores

  • Movies
  • TV
Average review score: 72
Highest review score: 100 Monster's Ball
Lowest review score: 0 Police Academy
Score distribution:
4338 movie reviews
    • 65 Metascore
    • 50 Roger Ebert
    Ali
    A long, flat, curiously muted film about the heavyweight champion. It lacks much of the flash, fire and humor of Muhammad Ali and is shot more in the tone of a eulogy than a celebration. There is little joy here.
    • 61 Metascore
    • 50 Roger Ebert
    The material might have promise as a black comedy, but its attempt to put on a smiling face is unconvincing.
    • 58 Metascore
    • 50 Roger Ebert
    Seems Like Old Times is another one of those near-misses that leaves a movie critic in a quandary. It's a funny movie, and it made me laugh out loud a lot, but in the final analysis it just didn't quite edge over the mystical line into success.
    • 52 Metascore
    • 50 Roger Ebert
    The concept is inspired. The execution is lame. Anger Management, a film that might have been one of Adam Sandler's best, becomes one of Jack Nicholson's worst.
    • 54 Metascore
    • 50 Roger Ebert
    The problem with Die, Mommie, Die, a drag send-up of the genre, is that it spoils the fun by making it obvious.
    • 42 Metascore
    • 50 Roger Ebert
    The movie doesn't work. It meanders and drifts and riffs.
    • 38 Metascore
    • 50 Roger Ebert
    Skillfully made, but it's not necessary...On the other hand, should you see it, the time will pass pleasantly.
    • 47 Metascore
    • 50 Roger Ebert
    A typical Kitano film in many ways, but not one of his best ones. Too many of the killing scenes have a casual, perfunctory tone.
    • 49 Metascore
    • 50 Roger Ebert
    This is a bitter, sour movie about two people who are only marginally interesting.
    • 33 Metascore
    • 50 Roger Ebert
    It's based on some DC Comics characters, which may explain the way the plot jumps around. We hear a lot about graphic novels, but this is more of a graphic anthology of strange occult ideas.
    • 37 Metascore
    • 50 Roger Ebert
    A home invasion thriller that may set a record for the number of times the characters point loaded pistols at one another's heads. First we're afraid somebody will get shot. Then we're afraid nobody will be.
    • 39 Metascore
    • 50 Roger Ebert
    About as good as a movie with these characters can probably be, and I am well aware that I am the wrong audience for this movie.
    • 51 Metascore
    • 50 Roger Ebert
    Benton has made better movies, but this one has no organic reality.
    • 53 Metascore
    • 50 Roger Ebert
    An odd, desperate film, lost in its own audacity, and yet there are passages of surreal beauty and preposterous invention that I have to admire. The film doesn't work, and indeed seems to have no clear idea of what its job is, and yet (sigh) there is the temptation to forgive its trespasses simply because it is utterly, if pointlessly, original.
    • 65 Metascore
    • 50 Roger Ebert
    A conspiracy thriller that begins well and makes good points, but it flies off the rails in the last 30 minutes.
    • 57 Metascore
    • 50 Roger Ebert
    The movie isn't as funny or entertaining as "Evil Dead II," however, maybe because the comic approach seems recycled.
    • 62 Metascore
    • 50 Roger Ebert
    The movie was produced by Seinfeld, and protects him. The visuals tend toward the dim, the gray and the washed-out, and you wish instead of spending a year with their store-boughts, they'd spent a month and used the leftover to hire a cinematographer.
    • 40 Metascore
    • 50 Roger Ebert
    To be fair, this tawdry dose of pulp fiction ("inspired by real events") is not a complete waste of time. It offers the marginal pleasure of an all-star cast slumming their way through a thicket of routine plotting, almost laughable dialogue and the constant blaze of tommy guns.
    • 45 Metascore
    • 50 Roger Ebert
    The films portray the Klan as criminal, racist and anonymous, but those have always been its selling points; it is not portrayed as boring and stupid.
    • 61 Metascore
    • 50 Roger Ebert
    The Jessica Lange character is wrong because she isn't selfish enough. In the original, the character was a tough dame who had married the fat spider for money, and was looking out only for herself. Here the character's motivations are marred by soft bourgeois values like affection and career dreams. The original film had a good girl and a bad girl; the Lange character wants to be both.
    • 36 Metascore
    • 50 Roger Ebert
    There's no way I can recommend this movie to anyone much beyond the Tooth Fairy Believement Age, but I must testify it's pleasant and inoffensive, although the violence in the hockey games seems out of place.
    • 37 Metascore
    • 50 Roger Ebert
    Watching the movie, I enjoyed the settings, the periods and the acting. I can't go so far as to say I cared about the story, particularly after it became clear that its structure was too clever by half.
    • 33 Metascore
    • 50 Roger Ebert
    A plot like this is so hopeless that only acting can redeem it. Lopez pulls her share of the load, looking geuninely smitten by this guy and convincingly crushed when his secret is revealed. But McConaughey is not the right actor for this material.
    • 35 Metascore
    • 50 Roger Ebert
    It's just a sound-and-light show, linked to the marketing push for Pokemon in general.
    • 54 Metascore
    • 50 Roger Ebert
    The opening scenes of Johnny Dangerously are so funny you just don't see how they can keep it up. And you're right: They can't. But they make a real try. The movie wants to do for gangster films what Airplane! did for Airport, and Top Secret! did for spy movies.
    • 42 Metascore
    • 50 Roger Ebert
    It's so impossible to care about the characters in the movie that I didn't care if the vampires or werewolves won. I might not have cared in a better movie, either, but I might have been willing to pretend.
    • 63 Metascore
    • 50 Roger Ebert
    Children should not be allowed within a mile of this film, but it will appeal to "Jackass" fans and other devotees of the joyously ignorant.
    • 51 Metascore
    • 50 Roger Ebert
    Contraband is based on an Icelandic thriller named "Reykjavik-Rotterdam," which leads you to suspect that neither New Orleans nor Panama City is particularly essential to the plot. That film starred Baltasar Kormakur, who is the director of this one, perhaps as a demonstration that many stars believe they could direct this crap themselves if they ever had the chance.
    • 43 Metascore
    • 50 Roger Ebert
    The skullcap moment appealed to me. It was new. Not much else is new in Survival of the Dead.
    • 73 Metascore
    • 50 Roger Ebert
    A screenplay with the depth and insight of a cable-TV docudrama.

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