For 4,692 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 8.5 points higher than other critics. (0-100 point scale)

Roger Ebert's Scores

  • Movies
  • TV
Average review score: 72
Highest review score: 100 The Diving Bell and the Butterfly
Lowest review score: 0 The Texas Chainsaw Massacre
Score distribution:
4692 movie reviews
    • 57 Metascore
    • 50 Roger Ebert
    This is the kind of film that isn't as much fun to see as it is to hear about.
    • 32 Metascore
    • 50 Roger Ebert
    When the suffering of real children is used to enhance the image of movie stars who fall in love against the backdrop of their suffering, a certain decency is lacking. Beyond Borders wants it both ways -- glamor up front, and human misery in the background to lend it poignancy.
    • 40 Metascore
    • 50 Roger Ebert
    Battle looks like the last gap of a dying series, a movie made simply to wring the dollars out of any remaining ape fans.
    • 50 Metascore
    • 50 Roger Ebert
    The movie is a first-time directorial effort by Justin Theroux, a splendid actor, son of the writer Phyllis, nephew of the novelist Paul. He might have done better to have taken on something by them.
    • 57 Metascore
    • 50 Roger Ebert
    Jennifer Garner is indeed a charmer, but she's the victim of a charmless treatment in 13 Going on 30.
    • 50 Metascore
    • 50 Roger Ebert
    This is Spielberg's weakest film since "1941."
    • 27 Metascore
    • 50 Roger Ebert
    My two-star rating represents a compromise between admiration and horror.
    • 53 Metascore
    • 50 Roger Ebert
    Too clever by half. It's the worst kind of con: It tells us it's a con, so we don't even have the consolation of being led down the garden path.
    • 40 Metascore
    • 50 Roger Ebert
    Rocky IV is movie-making by the numbers. Even the climactic fight scene isn't as exciting as it should be, maybe because we know with a certainty born of long experience how it will turn out.
    • 61 Metascore
    • 50 Roger Ebert
    I guess it's a tribute to The Man With Two Brains that I found myself laughing a fair amount of the time, despite my feelings about Martin.
    • 39 Metascore
    • 50 Roger Ebert
    Everything is brought together at the end in a flash of revelation that is spectacularly underwhelming.
    • 68 Metascore
    • 50 Roger Ebert
    Carny is bursting with more information about American carnivals that it can contain, surrounding a plot too thin to support it. Without knowing much about the reasons why the movie was made, I'd guess on the evidence that the director, Robert Kaylor, was fascinated by carnivals, spent a lot of time with one and shot a lot of film, and then found himself forced, to shape his material into some sort of traditional, commercial story. Inside this movie is a documentary struggling to get out.
    • 30 Metascore
    • 50 Roger Ebert
    Here's a case of two actors who do everything humanly possible to create characters who are sweet and believable, and are defeated by a screenplay that forces them into bizarre, implausible behavior.
    • 51 Metascore
    • 50 Roger Ebert
    This movie wasn't made for me. It was made for the people who will love it, of which there may be a multitude. The stage musical has sold 30 million tickets, and I feel like the grouch at the party.
    • 49 Metascore
    • 50 Roger Ebert
    Walking out of the screening, I was thinking: Elizabeth Hurley for girlfriend, Courtney Love for Satan.
    • 52 Metascore
    • 50 Roger Ebert
    The Mothman is singularly ineffective as a threat because it is only vaguely glimpsed, has no nature we can understand, doesn't operate under rules that the story can focus on, and seems to be involved in space-time shifts far beyond its presumed focus. There is also the problem that insects make unsatisfactory villains unless they are very big.
    • 40 Metascore
    • 50 Roger Ebert
    For the most part, Halloween II is a retread of “Halloween” without that movie's craft, exquisite timing, and thorough understanding of horror.
    • 40 Metascore
    • 50 Roger Ebert
    The fight scenes in Bulletproof Monk are not as inventive as some I've seen (although the opening fight on a rope bridge is so well done that it raises expectations it cannot fulfill).
    • 57 Metascore
    • 50 Roger Ebert
    The kind of dread dark horror film where you better hope nobody in the audience snickers, because the film teeters right on the edge of the ridiculous.
    • 49 Metascore
    • 50 Roger Ebert
    An intriguing plot is established, a new character is brought on with a complex set of problems, and then all the groundwork disintegrates into the usual hash of preposterous action sequences.
    • 56 Metascore
    • 50 Roger Ebert
    Although Catherine Hardwicke, the director of Lords of Dogtown, has a good sense for the period and does what she can with her actors, we've seen the originals, and these aren't the originals.
    • 45 Metascore
    • 50 Roger Ebert
    So the movie is daring, and well-acted. Yet it isn't very satisfying, because the serious content keeps breaking through the soggy plot intended to contain it.
    • 52 Metascore
    • 50 Roger Ebert
    Mars Attacks! has the look and feel of a schlocky 1950s science-fiction movie, and if it's not as bad as a Wood film, that's not a plus: A movie like this should be a lot better, or a lot worse.
    • 50 Metascore
    • 50 Roger Ebert
    I'm all for movies that create unease, but I prefer them to appear to know why they're doing that. Super is a film ending in narrative anarchy, exercising a destructive impulse to no greater purpose than to mess with us.
    • 58 Metascore
    • 50 Roger Ebert
    There's nothing much wrong with the film; my complaint is that there's nothing much right about it.
    • 49 Metascore
    • 50 Roger Ebert
    Reeves has many arrows in his quiver, but screwball comedy isn't one of them.
    • 42 Metascore
    • 50 Roger Ebert
    The movie has a certain mordant humor, and some macho dialogue that's funny. Woods manfully keeps a straight face through goofy situations where many another actor would have signaled us with a wink. But the movie is not scary, and the plot is just one gory showdown after another.
    • 35 Metascore
    • 50 Roger Ebert
    Watching the movie made me think of those subteen career novels I used to read in grade school, with titles like Brent Jones, Boy Reporter. They were always about how some kid got a lucky break and got hired by a newspaper, where of course he quickly learned the ropes and scooped the world on a big story, after which he got a telegram from the president and went off to college with a rosy future ahead of him. Those books came from a more innocent time, but Don't Tell Mom the Babysitter's Dead has been made in the same spirit.
    • 49 Metascore
    • 50 Roger Ebert
    Tells a pointlessly convoluted version of a love story that would really be very simple, if anyone in the movie possessed common sense.
    • 74 Metascore
    • 50 Roger Ebert
    As an achievement, Computer Chess is laudable. As a film, it's missable.

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