For 4,296 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 9.6 points higher than other critics. (0-100 point scale)

Roger Ebert's Scores

  • Movies
  • TV
Average review score: 72
Highest review score: 100 2001: A Space Odyssey
Lowest review score: 0 Dirty Love
Score distribution:
4296 movie reviews
    • 32 Metascore
    • 50 Roger Ebert
    Made me feel like I was sitting in McDonald's watching some guy shout at his kids. Price of Glory gives us two hours of that behavior, and it's a miscalculation so basic that it makes the movie painful when it wants, I guess, to be touching.
    • 43 Metascore
    • 50 Roger Ebert
    It says something for Robert Downey Jr. that in a movie where a man becomes a dog, Downey creates the weirdest character.
    • 60 Metascore
    • 50 Roger Ebert
    You hear some nostalgia, but with most of them you don't get the idea that if they had the chance they'd do it all again.
    • 45 Metascore
    • 50 Roger Ebert
    I watched the movie with interest, yes, but not emotional involvement, and my appreciation of Moore was based more on her essence than on her character.
    • 48 Metascore
    • 50 Roger Ebert
    The movie leaves no heartstring untugged. It even has a beloved old dog, and you know what happens to beloved old dogs in movies like this. Or if you don't, I don't have the heart to tell you.
    • 48 Metascore
    • 50 Roger Ebert
    But what the movie lacks is a story arc to pull us through.
    • 43 Metascore
    • 50 Roger Ebert
    It's chirpy, it's bright, there are pretty locations and lots happens. This is the kind of movie that can briefly hold the attention of a cat.
    • 51 Metascore
    • 50 Roger Ebert
    A work of limitless invention, but it is invention without pattern, chasing itself around the screen without finding a plot.
    • 34 Metascore
    • 50 Roger Ebert
    It's not particularly funny to hear women described and valued exclusively in terms of their function as disposable sexual partners. A lot of Connor's dialogue is just plain sadistic and qualifies him as that part of an ass it shares with a doughnut.
    • 40 Metascore
    • 50 Roger Ebert
    It is the kind of movie one enjoys more at 8, or even 12, than at 16 and up.
    • 64 Metascore
    • 50 Roger Ebert
    You know all those horror stories about a cigar-chomping producer who screens a movie and says they need to lose 15 minutes and shoot a new ending? Wedding Crashers needed a producer like that.
    • 61 Metascore
    • 50 Roger Ebert
    A disorganized, rambling and eccentric movie that contains some moments of truth, some moments of humor, and many moments of digression.
    • 41 Metascore
    • 50 Roger Ebert
    The screenplay carries blandness to a point beyond tedium.
    • 14 Metascore
    • 50 Roger Ebert
    And above all, the film is lacking in joy. It never seems like it's fun to be Billie Frank.
    • 41 Metascore
    • 50 Roger Ebert
    There are laughs in the movie, and a lot of good feeling, but it seems more interested in its Italian stereotypes than its gay insights.
    • 58 Metascore
    • 50 Roger Ebert
    Troche's tone is so relentlessly, depressingly monotonous that the characters seem trapped in a narrow emotional range. They live out their miserable lives in one lachrymose sequence after another, and for us there is no relief.
    • 60 Metascore
    • 50 Roger Ebert
    Without a great Bond girl, a great villain or a hero with a sense of humor, The Living Daylights belongs somewhere on the lower rungs of the Bond ladder. But there are some nice stunts.
    • 49 Metascore
    • 50 Roger Ebert
    The identical premise is used in Sidney Lumet's "Before the Devil Knows You're Dead," which is like a master class in how Allen goes wrong.

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