For 4,035 reviews, this critic has graded:
  • 75% higher than the average critic
  • 2% same as the average critic
  • 23% lower than the average critic
On average, this critic grades 12.2 points higher than other critics. (0-100 point scale)

Roger Ebert's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 Tulpan
Lowest review score: 0 Chaos
Score distribution:
4,035 movie reviews
    • 81 Metascore
    • 88 Roger Ebert
    Owen Wilson is a key to the movie's appeal. He makes Gil so sincere, so enthusiastic.
    • 45 Metascore
    • 88 Roger Ebert
    Like "The Exorcist," the best film in the genre, it is inspired by some degree of religious scholarship and creates believable characters in a real world. That religions take demonic possessions seriously makes them more fun for us, the unpossessed.
    • 50 Metascore
    • 88 Roger Ebert
    Because of the ingenious screenplay by John Orloff, precise direction by Roland Emmerich and the casting of memorable British actors, you can walk into the theater as a blank slate, follow and enjoy the story, and leave convinced - if of nothing else - that Shakespeare was a figure of compelling interest.
    • 76 Metascore
    • 88 Roger Ebert
    Margin Call employs an excellent cast who can make financial talk into compelling dialogue. They also can reflect the enormity of what is happening: Their company and their lives are being rendered meaningless.
    • 62 Metascore
    • 88 Roger Ebert
    We suspect that the film will be about their various problems and that the hotel will not be as advertised. What we may not expect is what a charming, funny and heartwarming movie this is, a smoothly crafted entertainment that makes good use of seven superb veterans.
    • 57 Metascore
    • 88 Roger Ebert
    Funny and dirty in about that order.
    • 76 Metascore
    • 88 Roger Ebert
    Submarine isn't an insipid teen sex comedy. It flaunts some stylistic devices, such as titles and sections and self-aware narration, but it doesn't try too hard to be desperately clever.
    • 82 Metascore
    • 88 Roger Ebert
    For me, it is too clever by half, creating full-bodied characters but inserting them into a story that is thin soup.
    • 79 Metascore
    • 88 Roger Ebert
    One of the pleasures of Fiennes' film is that the screenplay by John Logan ("Hugo," "Gladiator") makes room for as much of Shakespeare's language as possible. I would have enjoyed more, because such actors as Fiennes, Vanessa Redgrave and Brian Cox let the words roll trippingly off the tongue.
    • 82 Metascore
    • 88 Roger Ebert
    The film most of all is about Hester, who stares out the window and smokes.
    • 76 Metascore
    • 88 Roger Ebert
    He's (Fukunaga) a director with a sure visual sense, here expressed in voluptuous visuals and ambitious art direction.
    • 72 Metascore
    • 88 Roger Ebert
    Like another recent feel-good film about the disease, Gus Van Sant's "Restless," it creates a comforting myth. That's one of the things movies are good for.
    • 85 Metascore
    • 88 Roger Ebert
    Meek's Cutoff is more an experience than a story. It has personality conflicts, but isn't about them. The suspicions and angers of the group are essentially irrelevant to their overwhelming reality. Reichardt has the courage to establish that.
    • 65 Metascore
    • 88 Roger Ebert
    The movie seems to be a fairly accurate re-creation of the making of a film at Pinewood Studios at that time. It hardly matters. What happens during the famous week hardly matters. What matters is the performance by Michelle Williams.
    • 87 Metascore
    • 88 Roger Ebert
    If you are open, even in fancy, to the idea of ghosts who visit the living, this film is likely to be a curious but rather bemusing experience.
    • 57 Metascore
    • 88 Roger Ebert
    Snow White and the Huntsman reinvents the legendary story in a film of astonishing beauty and imagination.
    • 82 Metascore
    • 88 Roger Ebert
    Most people do not choose their religions but have them forced upon themselves by birth, and the lesson of Incendies is that an accident of birth is not a reason for hatred.
    • 66 Metascore
    • 88 Roger Ebert
    You're looking for depth and profundity, this is the wrong movie. But under the direction of David Koepp ("Secret Window," the screenplays for "Mission: Impossible" and "Spider-Man"), this is an expert and spellbinding adventure.
    • 86 Metascore
    • 88 Roger Ebert
    Spellbinding.
    • 71 Metascore
    • 88 Roger Ebert
    I Will Follow doesn't tell a story so much as try to understand a woman. Through her, we can find insights into the ways we deal with death.
    • 80 Metascore
    • 88 Roger Ebert
    Here is a film that invites philosophical musing. Made without dialogue and often in long shots, it regards the four stages of existence in a remote Italian village.
    • 70 Metascore
    • 88 Roger Ebert
    What I enjoyed was the way the film summons up the pure obsessive passion that chess stirs in some people.
    • 65 Metascore
    • 88 Roger Ebert
    This isn't the kind of movie that even has hope enough to contain a message. There is no message, only the reality of these wounded personalities.
    • 84 Metascore
    • 88 Roger Ebert
    Yes, we know these events are less than likely, and the film's entire world is fantastical. But what happens in a fantasy can be more involving than what happens in life, and thank goodness for that.
    • 62 Metascore
    • 88 Roger Ebert
    Ted
    The funniest movie character so far this year is a stuffed teddy bear. And the best comedy screenplay so far is Ted, the saga of the bear's friendship with a 35-year-old manchild.
    • 83 Metascore
    • 88 Roger Ebert
    The movie suggests that humans benefitted little from Project Nim, and Nim himself not at all.
    • 78 Metascore
    • 88 Roger Ebert
    He is one of the most prolific and generous of directors, and there is no word that summarizes a "Tavernier film," except, usually, masterful.
    • 74 Metascore
    • 88 Roger Ebert
    There are no heavy-handed portraits of holy rollers here, just people whose view of the world is narrow. There are also no outsize sinners, just some gentle singer-songwriters who are too fond of pot and whose lyrics are parades of cliches.
    • 54 Metascore
    • 88 Roger Ebert
    It's manipulative, yes, but clever and persuasive in its manipulations.
    • 64 Metascore
    • 88 Roger Ebert
    The performances are pitch perfect, even including Gabriel Chavarria as Ramon, the man who steals the truck. It adds an important element to the film that he embodies a desperate man, not a bad one.
    • 65 Metascore
    • 88 Roger Ebert
    A slick, exciting, well-made crime thriller, dripping with atmosphere.
    • 66 Metascore
    • 88 Roger Ebert
    What's impressive is how well this film joins its parts into a whole.
    • 76 Metascore
    • 88 Roger Ebert
    A linear story, or one that was fragmented more clearly, could have been more effective. Still, a good film, ambitious and effective, introducing a gifted young actress and a director whose work I'll anticipate.
    • 78 Metascore
    • 88 Roger Ebert
    The Guard is a pleasure. I can't tell if it's really (bleeping) dumb or really (bleeping) smart, but it's pretty (bleeping) good.
    • 77 Metascore
    • 88 Roger Ebert
    Siskel and Jacobs focus on the performances, which are inspiring and electrifying.
    • 59 Metascore
    • 88 Roger Ebert
    For 20 years the news has reported from time to time of crimes alleged by employees of paid defense contractors. These cases rarely seem to result in change, and the stories continue. We can only guess what may be going unreported. The Whistleblower offers chilling evidence of why that seems to be so.
    • 84 Metascore
    • 88 Roger Ebert
    This film leads to a startling conclusion that wipes out the story's paradoxes so neatly it's as if it never happened. You have to grin at the ingenuity of Johnson's screenplay.
    • 59 Metascore
    • 88 Roger Ebert
    A return to form for Stone's dark side, Savages generates ruthless energy and some, but not too much, humor.
    • 70 Metascore
    • 88 Roger Ebert
    There's a freedom in his structure. This isn't a formal documentary, but as I mentioned, a meander.
    • 59 Metascore
    • 88 Roger Ebert
    As a period biopic, J. Edgar is masterful. Few films span seven decades this comfortably.
    • 71 Metascore
    • 88 Roger Ebert
    Patton Oswalt is, in a way, the key to the film's success. Theron is flawless at playing a cringe-inducing monster and Wilson touching as a nice guy who hates to offend her, but the audience needs a point of entry, a character we can identify with, and Oswalt's Matt is human, realistic, sardonic and self-deprecating. He speaks truth to Mavis.
    • 82 Metascore
    • 88 Roger Ebert
    I got a little lost while watching Mysteries of Lisbon and enjoyed the experience. It's a lavish, elegant, operatic, preposterous 19th century melodrama, with characters who change names and seemingly identities, and if you could pass a quiz on its stories within stories, you have my admiration.
    • 71 Metascore
    • 88 Roger Ebert
    The movie is an uncommonly knowledgeable portrait of the way musical gifts could lift people of ordinary backgrounds into high circles.
    • 48 Metascore
    • 88 Roger Ebert
    Jennifer Garner and Joel Edgerton are appealing together as far from perfect parents, and CJ Adams has that ability of so many child actors to be pitch-perfect.
    • 64 Metascore
    • 88 Roger Ebert
    Sit through the entire credits. There's one more shot still to come. Not that you wouldn't be content without it.
    • 57 Metascore
    • 88 Roger Ebert
    As a melodrama, Trishna builds a hypnotic force.
    • 75 Metascore
    • 88 Roger Ebert
    On the basis of its scale, energy and magical events, this is the Hong Kong equivalent of a big-budget Hollywood blockbuster. But it transcends them with the stylization of the costumes, the panoply of the folklore, the richness of the setting, and the fact that none of the characters (allegedly) have superpowers.
    • 71 Metascore
    • 88 Roger Ebert
    Undefeated is an emotional and effective film.
    • 79 Metascore
    • 88 Roger Ebert
    So what we're seeing here is the emergence of a promising writer-director, an actor and a cinematographer who are all exciting, and have cared to make a film that seeks helpful truths.
    • 57 Metascore
    • 88 Roger Ebert
    Tom has enlisted our identification and sympathy, but he seems hopelessly isolated within his own bubble of despair. How much that happens is in his mind?
    • 70 Metascore
    • 88 Roger Ebert
    Boy
    A film like this would have little chance without the right casting, and James Rolleston is so right as Boy, it's difficult to imagine anyone else.
    • 83 Metascore
    • 88 Roger Ebert
    I watched the film in a sort of reverie. The dancers seemed particularly absorbed. They had performed these dances many times before, but always with Pina Bausch present. Now they were on their own, in homage.
    • 64 Metascore
    • 88 Roger Ebert
    The film, written and directed by Joe Maggio, only has this handful of characters and looks at them carefully. The dialogue is right, the conflicts are simple and sincere, the hopes are touching.
    • 74 Metascore
    • 88 Roger Ebert
    Tomboy is tender and affectionate. It shows us Laure/Mikael in an adventure that may be forgotten in adulthood or may form her adulthood.
    • 81 Metascore
    • 88 Roger Ebert
    We're fully aware of the plot conventions at work here, the wheels and gears churning within the machinery, but with these actors, this velocity and the oblique economy of the dialogue, we realize we don't often see it done this well. Silver Linings Playbook is so good, it could almost be a terrific old classic.
    • 75 Metascore
    • 88 Roger Ebert
    No one, male or female, has any fun, but the men behave as if they do. They are all half-stupefied by the languor in which they drown.
    • 82 Metascore
    • 88 Roger Ebert
    Nuri Bilge Ceylan, one of Turkey's best directors, has a deep understanding of human nature. He loves his characters and empathizes with them. They deserve better than to be shuttled around in a facile plot. They deserve empathy. So do we all.
    • 55 Metascore
    • 88 Roger Ebert
    This isn't a serious historical film. It plays different instruments than Spielberg's "Lincoln." Murray, who has a wider range than we sometimes realize, finds the human core of this FDR and presents it tenderly.
    • 76 Metascore
    • 88 Roger Ebert
    This is a parable about modern Iran, and like many recent Iranian films it leaves its meaning to the viewer. One of the wise decisions by Rafi Pitts, its writer, director and star, is to include no dialogue that ever actually states the politics of its hero.
    • 83 Metascore
    • 88 Roger Ebert
    One of the qualities of Monsieur Lazhar is that it has no simple questions and simple answers. Its purpose is to present us with a situation, explore the people involved and show us a man who is dealing with his own deep hurts.
    • 87 Metascore
    • 88 Roger Ebert
    The most mysterious character in The Kid With a Bike is not the kid, who after all, has a story it's fairly easy to understand. It is the hairdresser, played by Cecille De France with her sad beauty. This actress carries lifetimes in her eyes.
    • 85 Metascore
    • 88 Roger Ebert
    This is one of the most fascinating of all true crime stories.
    • 76 Metascore
    • 88 Roger Ebert
    The music is terrific. Idania Valdes dubs Rita's sensuous, smoky singing voice, and the film is essentially constructed as a musical.
    • 66 Metascore
    • 88 Roger Ebert
    The film is a chilling study of an evil, dominant personality and his victims. It works primarily through an astonishingly good performance by Daniel Henshall as Bunting.
    • 64 Metascore
    • 88 Roger Ebert
    There are elements of comedy here, and some very low-key slapstick, but the film is respectful to the Catholic Church and the papacy and takes no cheap shots.
    • 81 Metascore
    • 88 Roger Ebert
    In its closing scenes, Hell and Back Again builds to an emotional and stylistic power that we didn't see coming.
    • 82 Metascore
    • 88 Roger Ebert
    Marley, an ambitious and comprehensive film, does what is probably the best possible job of documenting an important life.
    • 75 Metascore
    • 88 Roger Ebert
    One of the most involving of the many first-rate thrillers that have come recently from Scandinavia.
    • 57 Metascore
    • 88 Roger Ebert
    Linda is a truly good woman, and Rachael Harris' performance illuminates Natural Selection.
    • 90 Metascore
    • 88 Roger Ebert
    Little by little, detail by detail, This Is Not a Film leads to a final scene of overwhelming power. I don't think it was even planned - no more than Panahi expected the little actress to take the cast off her arm. It simply happens, and then the film is over, having nothing more to say. Because, after all, it is not a film.
    • 72 Metascore
    • 88 Roger Ebert
    Safety Not Guaranteed not only has dialogue that's about something, but characters who have some depth and dimension.
    • 48 Metascore
    • 88 Roger Ebert
    Despite its flashy cinematography and colorful sets, it contains a great deal that is serious about growing up in America today.
    • 59 Metascore
    • 88 Roger Ebert
    Surviving Progress is a bright, entertaining (!), coherent argument in favor of these principles I have simplified so briefly. It's self-evident and tells the truth.
    • 72 Metascore
    • 88 Roger Ebert
    It's not often a thriller keeps me wound up as well as Headhunters did. I knew I was being manipulated and didn't care. It was a pleasure to see how well it was being done.
    • 66 Metascore
    • 88 Roger Ebert
    This is a delightfully goofy, self-aware movie that knows it is a movie.
    • 74 Metascore
    • 88 Roger Ebert
    Fake It So Real filled me with affection for its down-and-out heroes, a group of semi-pro wrestlers in Lincolnton, N.C.
    • 80 Metascore
    • 88 Roger Ebert
    The brothers Maeda are pure gold; the film captures what feels like effortless joy in their lives, and it is never something they seem to be reaching for.
    • 83 Metascore
    • 88 Roger Ebert
    The movie finds the right tone to present its bittersweet wisdom. It's relaxed. It's content to observe and listen.
    • 75 Metascore
    • 88 Roger Ebert
    Imagine music for a sorcery-related plot and then dial it down to ominous forebodings. Without Thomas Newman's score, Side Effects would be a lesser film, even another film.
    • 71 Metascore
    • 88 Roger Ebert
    I like this movie. More important, I like Mike Birbiglia in it. Whether he has a future in stand-up I cannot say, but he has a future as a monologist and actor.
    • 55 Metascore
    • 88 Roger Ebert
    There is a word to explain why this particular film so appealed to me. Reader, that word is "escapism." If you understand why I used the word "reader" in just that way, you are possibly an ideal viewer for this movie.
    • 86 Metascore
    • 88 Roger Ebert
    The most heartbreaking scene shows survivors of the dead reaching through fence railings to scatter their ashes on the White House lawn, where presumably they still rest.
    • 50 Metascore
    • 88 Roger Ebert
    There's a lot of funny stuff, but the most unexpected comes from Arnold, who has been uneven, to say the least, in his movies.
    • 79 Metascore
    • 88 Roger Ebert
    Mark is played by John Hawkes, who has emerged in recent years as an actor of amazing versatility. What he does here is not only physically challenging, but requires timing and emotion to elevate the story into realms of deep feeling and, astonishingly, even comedy.
    • 67 Metascore
    • 88 Roger Ebert
    It offers the rare pleasure of an author directing his own book, and doing it well. No one who loves the book will complain about the movie, and especially not about its near-ideal casting.
    • 80 Metascore
    • 88 Roger Ebert
    Some of Jackie's dialogue is so good it would distinguish a sitcom.
    • 66 Metascore
    • 88 Roger Ebert
    Someone like Abe could only prevail through the powers of denial and optimistic wishing, and Solondz makes that happen, as the film gradually slips into fantasy.
    • 82 Metascore
    • 88 Roger Ebert
    The Mexican drug cartels have inspired countless films, but never one as final as Natalia Almada's documentary El Velador.
    • 62 Metascore
    • 88 Roger Ebert
    What impresses me more is that she (Delpy) has a lighthearted way about her and takes chances in comedies like this. It is hard enough to be good at all, but to be good in comedy speaks for your character.
    • 66 Metascore
    • 88 Roger Ebert
    What makes the film involving is that it doesn't depend on the mechanical resolution of the plot, but on the close observation of its effects on these distinctive characters.
    • 67 Metascore
    • 88 Roger Ebert
    Benoit Jacquot's engrossing film tells a story we know well, seen from a point of view we may not have considered.
    • 67 Metascore
    • 88 Roger Ebert
    The Well Digger's Daughter is such a success that Auteuil has already been signed to direct three more Pagnol classics, and I eagerly want to see them.
    • 59 Metascore
    • 88 Roger Ebert
    I'm not surprised that Rashida Jones took the lead in writing this screenplay; the way things are going now, if an actress doesn't write a good role for herself, no one else is going to write one.
    • 61 Metascore
    • 88 Roger Ebert
    Few actors have played a wider variety of characters, and even fewer have done it without making it seem like a stunt.
    • 36 Metascore
    • 88 Roger Ebert
    Why Stop Now takes large themes much manhandled as movie cliches, and treats them with care and respect. It likes the characters. So did I.
    • 50 Metascore
    • 88 Roger Ebert
    Cluzot, with his uncanny resemblance to Dustin Hoffman, is an engaging actor who effortlessly summons up inner neurosis. The others are all skilled at light wit and banter; in a way, the film is simply a record of the French being French.
    • 61 Metascore
    • 88 Roger Ebert
    This performance, unlike anything Paul Dano has ever done, must have required some courage. It requires an actor to cast aside all conceits of performance, presence, charisma and even timing.
    • 71 Metascore
    • 88 Roger Ebert
    This is a serious movie about drinking but not a depressing one. You notice that in the way it handles Charlie (Aaron Paul), Kate's husband. He is also her drinking buddy. When two alcoholics are married, they value each other's company because they know they can expect forgiveness and understanding, while a civilian might not choose to share their typical days.
    • 84 Metascore
    • 88 Roger Ebert
    Here is a film that is exasperating, frustrating, anarchic and in a constant state of renewal. It's not tame. Some audience members are going to grow very restless. My notion is, few will be bored.
    • 73 Metascore
    • 88 Roger Ebert
    A big budget historical drama that carries Denmark's hopes into the Oscar season. It provides still more exposure for the rising Danish star Mads Mikkelsen, the latest male sex symbol of the art house crowd.
    • 67 Metascore
    • 88 Roger Ebert
    A Late Quartet does one of the most interesting things any film can do. It shows how skilled professionals work.
    • 79 Metascore
    • 88 Roger Ebert
    By dropping in on this couple from time to time for the kinds of moments one of them might remember, the film is more honest than its characters.
    • 41 Metascore
    • 88 Roger Ebert
    Sometimes it's all about the casting. The notice of a screening came around, I read the names Al Pacino, Christopher Walken and Alan Arkin, and it didn't matter in a way what the movie was about - although it didn't hurt that it was a crime movie.
    • 65 Metascore
    • 88 Roger Ebert
    Melissa Leo plays her without inflection, giving us no instructions about what our opinion should be. It is a brave performance, an act of empathy with a sad woman.
    • 63 Metascore
    • 88 Roger Ebert
    When the mistake is discovered, how do the families react? What disturbs them more: that their son has been raised as an enemy or that he has been raised in another religion? That's where The Other Son gets complicated.
    • 54 Metascore
    • 88 Roger Ebert
    There's a universal story here about immigrant parents and children, and how American culture can swamp family traditions, and make parents and children culturally unrecognizable to one another.
    • 81 Metascore
    • 88 Roger Ebert
    Part of the greatness of this film is that it not only avoids any simple answers, but it also takes us into the awkward contradictions and internal dishonesties that help us look at the mirror each day.
    • 77 Metascore
    • 88 Roger Ebert
    Jarecki's film makes a shattering case against the War on Drugs.
    • 88 Metascore
    • 88 Roger Ebert
    It's not dated. It is powerful, genuinely shocking and rather amazing.
    • 54 Metascore
    • 88 Roger Ebert
    Now, Forager is a uncompromising film about two people who don't deserve each other - but maybe nobody deserves either one of them.
    • 54 Metascore
    • 88 Roger Ebert
    Fat Kid Rules the World is a movie with a title that might be misleading: It's a lot better than it sounds like it has any right to be.
    • 67 Metascore
    • 88 Roger Ebert
    When we speak of "American health care," we should in fact be calling it "American sickness care." There's more money to be made in making people sick and healing them than in keeping them well in the first place. The documentary Escape Fire: The Fight to Rescue American Healthcare makes this argument with stunning clarity.
    • 79 Metascore
    • 88 Roger Ebert
    The case transfixed a racially polarized New York City. The teens were labeled as a "wolf pack" by the news media, led by the New York tabloids.
    • 62 Metascore
    • 88 Roger Ebert
    It is unabashedly sentimental and epic, and rather bold in the way it takes place during and after the Holocaust but is not defined by it.
    • 83 Metascore
    • 88 Roger Ebert
    Is something being hidden? No. It's more that something doesn't want to be known.
    • 77 Metascore
    • 88 Roger Ebert
    Katie Dellamaggiore's inspiring documentary covers two years in the history of the school chess team, during which one team member, Rochelle Ballantyn, approaches her dream of becoming the first female African-American grandmaster in U.S history.
    • 73 Metascore
    • 88 Roger Ebert
    Given the grievousness of their sins, one wonders why the church continues to shelter them. Might it not be more appropriate to excommunicate them, and refer them to the attention of the civil authorities?
    • 58 Metascore
    • 88 Roger Ebert
    There will be many who find To the Wonder elusive and too effervescent. They'll be dissatisfied by a film that would rather evoke than supply. I understand that, and I think Terrence Malick does, too. But here he has attempted to reach more deeply than that: to reach beneath the surface, and find the soul in need.
    • 86 Metascore
    • 88 Roger Ebert
    The movie, in fact, resembles Capra's "It's a Wonderful Life" more than other, conventional time-travel movies.
    • 67 Metascore
    • 88 Roger Ebert
    Because Die Hard 2 is so skillfully constructed and well-directed, it develops a momentum that carries it past several credibility gaps that might have capsized a lesser film.
    • 67 Metascore
    • 88 Roger Ebert
    There's an unlikelihood so large in Future Weather that it nearly derails the film. That was what I admired the most about it.
    • 67 Metascore
    • 88 Roger Ebert
    This is easily the most absurd of the "Star Trek" stories - and yet, oddly enough, it is also the best, the funniest and the most enjoyable in simple human terms. I'm relieved that nothing like restraint or common sense stood in their way.
    • 65 Metascore
    • 88 Roger Ebert
    Altman's approach in Vincent & Theo is a very immediate, intimate one. He would rather show us things happening than provide themes and explanations. He is most concerned with the relationship that made the art possible.
    • 78 Metascore
    • 88 Roger Ebert
    It's one of those films where you feel the authority right away: This movie knows its characters, knows its story, and knows exactly how it wants to tell us about them.