For 4,340 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 Howards End
Lowest review score: 0 Tomcats
Score distribution:
4340 movie reviews
    • 56 Metascore
    • 50 Roger Ebert
    Although Jack Kerouac's On the Road has been praised as a milestone in American literature, this film version brings into question how much of a story it really offers.
    • 41 Metascore
    • 50 Roger Ebert
    Whom do they make these movies for? What exercise in self-deception inspires them to go to such effort and expense for what is obviously going to be a lame exercise in retreadmanship?
    • 49 Metascore
    • 50 Roger Ebert
    Most of the running time is occupied by action sequences, chase sequences, motorcycle sequences, plow-truck sequences, helicopter sequences, fighter-plane sequences, towering android sequences and fistfights. It gives you all the pleasure of a video game without the bother of having to play it.
    • 44 Metascore
    • 50 Roger Ebert
    It will appeal to the large Indian audiences in North America and to Bollywood fans in general, who will come out wondering why this movie, of all movies, was chosen as Hollywood's first foray into commercial Indian cinema.
    • 39 Metascore
    • 50 Roger Ebert
    A sad reflection of the new Hollywood, where material is sanitized and dumbed down for a hypothetical teen market that is way too sophisticated for it. It plays like a dinner theater version of the original.
    • 71 Metascore
    • 50 Roger Ebert
    Eight Men Out is an oddly unfocused movie made of earth tones, sidelong glances and eliptic conversations. It tells the story of how the stars of the 1919 Chicago White Sox team took payoffs from gamblers to throw the World Series, but if you are not already familiar with that story you’re unlikely to understand it after seeing this film.
    • 33 Metascore
    • 50 Roger Ebert
    RV
    There is nothing I much disliked but little to really recommend. At least the movie was not nonstop slapstick, and there were a few moments of relative gravity, in which Robin Williams demonstrated once again that he's more effective on the screen when he's serious than when he's trying to be funny.
    • 19 Metascore
    • 50 Roger Ebert
    It's another overwrought clunker like "How the Grinch Stole Christmas," all effects and stunts and CGI and prosthetics, with no room for lightness and joy.
    • 33 Metascore
    • 50 Roger Ebert
    More about continuing the legend of the irascible but lovable old man into the grave, if necessary.
    • 76 Metascore
    • 50 Roger Ebert
    It is enormously ambitious -- maybe too much so, since it ranges so widely between styles and strategies that it distracts from its own flow.
    • 52 Metascore
    • 50 Roger Ebert
    300
    My deepest objection to the movie is that it is so blood-soaked. When dialogue arrives to interrupt the carnage, it's like the seventh-inning stretch.
    • 30 Metascore
    • 50 Roger Ebert
    Despite all its sound and fury, Legend is a movie I didn't care very much about. All of the special effects in the world, and all of the great makeup, and all of the great Muppet creatures can't save a movie that has no clear idea of its own mission and no joy in its own accomplishment.
    • 78 Metascore
    • 50 Roger Ebert
    It is just plain talky and boring. You know there's something wrong with a movie when the last third feels like the last half.
    • 51 Metascore
    • 50 Roger Ebert
    One of those movies where the audience knows the message before the film begins and the characters are still learning it when the film ends.
    • 23 Metascore
    • 50 Roger Ebert
    Among the better things in the movie, I count Vaughn's well-timed and smart dialogue.
    • 43 Metascore
    • 50 Roger Ebert
    The Forgotten is not a good movie, but at least it supplies a credible victim (Moore).
    • 40 Metascore
    • 50 Roger Ebert
    Projects like this bring out the best in actors, who take salary cuts to work in Chekhov (even at one remove). What we can guess, watching the film, is that the same players would make a good job of "Three Sisters" but are undermined by the faculty club, which works like a hotel lobby. There's no way to sustain dramatic momentum here.
    • 56 Metascore
    • 50 Roger Ebert
    Hilary Duff is beautiful and skilled, and I hope she finds something worthwhile to do with her talent before she truly does become the next Britney Spears and has to start worrying about the next Hilary Duff.
    • 16 Metascore
    • 50 Roger Ebert
    If the plot and screenplay are juvenile, the production values are first-rate, and the lead performance by newcomer Elizabeth Berkley has a fierce energy that's always interesting.
    • 37 Metascore
    • 50 Roger Ebert
    There's a point at which its enigmatic flashes of incomprehensible action grow annoying, and a point at which we realize that there's no use paying close attention, because we won't be able to figure out the film's secrets until they're explained to us.
    • 31 Metascore
    • 50 Roger Ebert
    High School is a pun. Get it? This is one of those stoner comedies that may be funny if you're high - but if not, not.
    • 74 Metascore
    • 50 Roger Ebert
    The disappointment is that Burton has not yet found the storytelling and character-building strength to go along with his pictorial flair.
    • 60 Metascore
    • 50 Roger Ebert
    RED
    Red is neither a good movie nor a bad one. It features actors we like doing things we wish were more interesting.
    • 51 Metascore
    • 50 Roger Ebert
    Faithfully represents Heinlein's militarism, his Big Brother state, and a value system in which the highest good is to kill a friend before the Bugs can eat him. The underlying ideas are the most interesting aspect of the film.
    • 44 Metascore
    • 50 Roger Ebert
    Is this some kind of a test? The Hangover, Part II plays like a challenge to the audience's capacity for raunchiness.
    • 43 Metascore
    • 50 Roger Ebert
    It isn't bad so much as it lacks any ambition to be more than it so obviously is.
    • 44 Metascore
    • 50 Roger Ebert
    Once you realize it's only going to be so good, you settle back and enjoy that modest degree of goodness, which is at least not badness, and besides, if you're watching Rush Hour 3, you obviously didn't have anything better to do, anyway.
    • 41 Metascore
    • 50 Roger Ebert
    The film is like a crossword puzzle. It keeps your interest until you solve it. Then it's just a worthless scrap with the spaces filled in.
    • 12 Metascore
    • 50 Roger Ebert
    The more you think about what really happens in Cocktail, the more you realize how empty and fabricated it really is.
    • 50 Metascore
    • 50 Roger Ebert
    Shameless wish-fulfillment, a Harlequin novel crossed with a mystic travelogue, and it mercifully reverses the life chronology of many people, which is Love Pray Eat.

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