For 4,476 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 Putty Hill
Lowest review score: 0 Death Wish II
Score distribution:
4476 movie reviews
    • 42 Metascore
    • 50 Roger Ebert
    The storytelling is hopelessly compromised by the movie's decision to sympathize with Jeanne. We can admire someone for daring to do the audacious, or pity someone for recklessly doing something stupid, but when a character commits an act of stupid audacity, the admiration and pity cancel each other, and we are left only with the possibility of farce.
    • 37 Metascore
    • 50 Roger Ebert
    The movie was directed by Michael Brandt, who co-wrote the script with Derek Haas. Together they wrote a much better movie, "3:10 to Yuma." The Double doesn't approach it in terms of quality. None of it is particularly compelling.
    • 53 Metascore
    • 50 Roger Ebert
    Here is a 145-minute movie containing one (1) line of truly witty dialogue: "Her 40s is the last age at which a bride can be photographed without the unintended Diane Arbus subtext."
    • 53 Metascore
    • 50 Roger Ebert
    Jet Lag is sort of a grown-up version of "Before Sunrise"...The difference between the two films is sort of depressing.
    • 69 Metascore
    • 50 Roger Ebert
    I enjoyed Ashes of Time Redux, up to a point. It's great-looking, and the characters all know what they would, although we do not.
    • 66 Metascore
    • 50 Roger Ebert
    The actors are better than the material.
    • 52 Metascore
    • 50 Roger Ebert
    Whoopi Goldberg is the only original or interesting thing about Jumpin' Jack Flash. And she tries, but she's not enough.
    • 45 Metascore
    • 50 Roger Ebert
    Here is a great story born to be creepy, and the movie churns through it like a road company production. If the first three movies served as parables for their times, this one keeps shooting off parable rockets that fizzle out.
    • 30 Metascore
    • 50 Roger Ebert
    Consider for a moment how this movie might play if it took itself seriously. Would it be better than as a comedy? I suspect so.
    • 79 Metascore
    • 50 Roger Ebert
    The movie itself is good and shows promise, except for the ending, when Trier shouldn't have been so poetic. Not only does Reprise generate itself, it contains its own review.
    • 25 Metascore
    • 50 Roger Ebert
    The plot, in short, is underwhelming. It merely follows the reporters as the screenplay serves them the solution to their case on a silver platter. Yet curiously, Deadline flows right along.
    • 36 Metascore
    • 50 Roger Ebert
    The screenplay tries to paper over too many story elements that needed a lot more thought. This movie has been filmed and released, but it has not been finished.
    • 56 Metascore
    • 50 Roger Ebert
    Essentially an interlacing of irony and gotcha! Scenes.
    • 26 Metascore
    • 50 Roger Ebert
    This is not the sort of movie you make it your business to see in a theater. But if you're ever surfing cable TV and come across it, you'll linger.
    • 36 Metascore
    • 50 Roger Ebert
    Here's a bad movie with hardly a bad scene. How can that be? The construction doesn't flow. The story doesn't engage. The insistent flashbacks are distracting. The plot has problems it sidesteps. Yet here is a gifted cast doing what it's asked to do. The failure is in the writing and editing.
    • 50 Metascore
    • 50 Roger Ebert
    The movie is focused on two kinds of chemistry: of the kitchen, and of the heart. The kitchen works better.
    • 53 Metascore
    • 50 Roger Ebert
    Now this is a terrific premise for a thriller, and director George Romero (The Night of the Living Dead) sets it up with skill and style. Unfortunately, the film's biggest disappointment is that it doesn't develop its preternatural opening theme.
    • 81 Metascore
    • 50 Roger Ebert
    It is a touching story, and the musicians (some over 90 years old) still have fire and grace onstage, but, man, does the style of this documentary get in the way.
    • 50 Metascore
    • 50 Roger Ebert
    John Carpenter's Prince of Darkness gets off to an intriguing start. But then the movie loses its way.
    • 51 Metascore
    • 50 Roger Ebert
    The screenplay, by Sara Parriott and Josann McGibbon, has a good feel for female best-friend relationships, and the dialogue has life and edge to it.
    • 32 Metascore
    • 50 Roger Ebert
    October Baby is being promoted as a Christian film, and it could have been an effective one. Rachel Hendrix is surprisingly capable in her first feature role, and Jasmine Guy is superb in her scene. Unfortunately, the film as a whole is amateurish and ungainly, can't find a consistent tone, is too long, is overladen with music that tries to paraphrase the story and is photographed with too many beauty shots that slow the progress.
    • 44 Metascore
    • 50 Roger Ebert
    The 'Burbs tries to position itself somewhere between Beetlejuice and The Twilight Zone, but it lacks the dementia of the first and the wicked intelligence of the second and turns instead into a long shaggy dog story.
    • 68 Metascore
    • 50 Roger Ebert
    The movie lacks the warmth and edge of the two previous features ("Walking and Talking" and "Lovely and Amazing"). It seems to be more of an idea than a story.
    • 48 Metascore
    • 50 Roger Ebert
    Any professional film editor watching this movie is going to suffer through one moment after another that begs to be ripped from the film and cut up into ukulele picks. Never mind the film editor: A lot of audiences, with all the best will in the world, are going to feel the same way.
    • 40 Metascore
    • 50 Roger Ebert
    I prefer "Life Is Beautiful," which is clearly a fantasy, to Jakob the Liar, which is just as contrived and manipulative but pretends it is not.
    • 58 Metascore
    • 50 Roger Ebert
    Disclosure contains an inspiring terrific shot of Demi Moore's cleavage in a Wonderbra, surrounded by 125 minutes of pure goofiness leading up to, and resulting from, this moment.
    • 30 Metascore
    • 50 Roger Ebert
    A pleasant, genial, good-hearted, sometimes icky comedy that's like spending a weekend with well-meaning people you don't want to see again any time real soon.
    • 44 Metascore
    • 50 Roger Ebert
    Here are people who do not allow the use of their last names, yet they cheerfully have sex in front of the camera -- and even willingly participate in scenes that make them look cruel, twisted, reckless and perhaps deranged.
    • 44 Metascore
    • 50 Roger Ebert
    Johnny Knoxville, famous for "Jackass,"...is, in fact, completely convincing and probably has a legitimate movie career ahead of him and doesn't have to stuff his underpants with dead chickens and hang upside down over alligator ponds any more.
    • 72 Metascore
    • 50 Roger Ebert
    The problem is that Winterbottom has imagined both stories and several others, and tells them in a style designed to feel as if reality has been caught on the fly.

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