For 4,404 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 Undertow
Lowest review score: 0 Deuce Bigalow: European Gigolo
Score distribution:
4404 movie reviews
    • 71 Metascore
    • 100 Roger Ebert
    In its quiet, dark, claustrophobic way, this is one of the best films of the year.
    • 90 Metascore
    • 100 Roger Ebert
    One of a very few films that wants to do something unexpected and challenging, and succeeds even beyond its ambitions. See this film. Then shut up about it.
    • 94 Metascore
    • 100 Roger Ebert
    A great film, an intelligent film, a film shot clearly so that we know exactly who everybody is and where they are and what they’re doing and why.
    • 79 Metascore
    • 100 Roger Ebert
    Deep movie emotions for me usually come not when the characters are sad, but when they are good. You will see what I mean.
    • 73 Metascore
    • 100 Roger Ebert
    Hitchcock called his most familiar subject "The Innocent Man Wrongly Accused." Jarecki pumps up the pressure here by giving us a Guilty Man Accurately Accused, and that's what makes the film so ingeniously involving.
    • 74 Metascore
    • 100 Roger Ebert
    Into the Abyss may be the saddest film Werner Herzog has ever made. It regards a group of miserable lives, and in finding a few faint glimmers of hope only underlines the sadness.
    • 67 Metascore
    • 100 Roger Ebert
    Last Days is a definitive record of death by gradual drug exhaustion. After the chills and thrills of "Sid & Nancy" and "The Doors," here is a movie that sees how addicts usually die, not with a bang but a whimper. If the dead had it to do again, they might wish that, this time, they'd at least been conscious enough to realize what was happening.
    • 89 Metascore
    • 100 Roger Ebert
    It is one of those rare movies that is not just about a story, or some characters, but about a whole universe of feeling.
    • 68 Metascore
    • 100 Roger Ebert
    Sophie's Choice is a fine, absorbing, wonderfully acted, heartbreaking movie.
    • 74 Metascore
    • 100 Roger Ebert
    It is flawlessly crafted, intelligently constructed, strongly acted and spellbinding.
    • 83 Metascore
    • 100 Roger Ebert
    The story of herself (Varda), a woman whose life has consisted of moving through the world with the tools of her trade, finding what is worth treasuring.
    • 95 Metascore
    • 100 Roger Ebert
    Beauty and the Beast reaches back to an older and healthier Hollywood tradition in which the best writers, musicians and filmmakers are gathered for a project on the assumption that a family audience deserves great entertainment, too.
    • 89 Metascore
    • 100 Roger Ebert
    Here is one of the most entertaining films in many a moon, a film that charms because of its story, its performances and because of the sly way it plays with being silent and black and white.
    • 62 Metascore
    • 100 Roger Ebert
    The film is extraordinarily beautiful. Bertolucci is one of the great painters of the screen.
    • 79 Metascore
    • 100 Roger Ebert
    An amazing film. It is deep, rich, human. It is not about rich and poor, but about old and new. It is about the ancient war between tradition and feeling.
    • 67 Metascore
    • 100 Roger Ebert
    Interiors becomes serious by intently observing complex adults as they fend and cope, blame and justify. Because it illuminates some of the ways we all act, it is serious but not depressing; when it's over, we may even find ourselves quietly cheered that Allen has seen so clearly how things can be.
    • 79 Metascore
    • 100 Roger Ebert
    This is a wonderful film. There isn't a thing that I would change.
    • 85 Metascore
    • 100 Roger Ebert
    It is about the actual lives of refugees, who lack the luxury of opinions because they are preoccupied with staying alive in a world that has no place for them.
    • 69 Metascore
    • 100 Roger Ebert
    As for myself, as Leticia rejoined Hank in the last shot of the movie, I was thinking about her as deeply and urgently as about any movie character I can remember.
    • 82 Metascore
    • 100 Roger Ebert
    I have seen Waking Life three times now. I want to see it again -- not to master it, or even to remember it better, -- but simply to experience all of these ideas, all of this passion, the very act of trying to figure things out.
    • 89 Metascore
    • 100 Roger Ebert
    No finer film has ever been made about organized crime - not even "The Godfather."
    • 74 Metascore
    • 100 Roger Ebert
    Peggy Sue Got Married is a lot of things - a human comedy, a nostalgic memory, a love story - but there are times when it is just plain creepy, because it awakens such vivid memories in us.
    • 82 Metascore
    • 100 Roger Ebert
    You would imagine a film like this would be greeted with rapture in France, but no. The leading French film magazine, "Cahiers du Cinema," has long scorned the filmmakers of this older generation as makers of mere "quality," and interprets Tavernier's work as an attack on the New Wave generation which replaced them.
    • 85 Metascore
    • 100 Roger Ebert
    It is intriguing to wonder what Scorsese saw in the Hong Kong movie that inspired him to make the second remake of his career (after "Cape Fear"). I think he instantly recognized that this story, at a buried level, brought two sides of his art and psyche into equal focus.
    • 65 Metascore
    • 100 Roger Ebert
    The Year of Living Dangerously is a wonderfully complex film about personalities more than events, and we really share the feeling of living in that place, at that time.
    • 85 Metascore
    • 100 Roger Ebert
    The only other film I've seen with this boldness of vision is Kubrick's "2001: A Space Odyssey," and it lacked Malick's fierce evocation of human feeling.
    • 90 Metascore
    • 100 Roger Ebert
    At a time when too many movies focus every scene on a $20 million star, an Altman film is like a party with no boring guests.
    • 82 Metascore
    • 100 Roger Ebert
    Perhaps I have made the movie sound too serious... So let me just say that Down and Out in Beverly Hills made me laugh longer and louder than any film I've seen in a long time.
    • 87 Metascore
    • 100 Roger Ebert
    Of all the Bonds, Goldfinger is the best, and can stand as a surrogate for the others. If it is not a great film, it is a great entertainment, and contains all the elements of the Bond formula that would work again and again.
    • 70 Metascore
    • 100 Roger Ebert
    Light Sleeper isn't about the help he can get from psychics, however; it's about desperation that makes him project healing qualities upon anyone who is halfway sympathetic. The movie is familiar with its life of night and need. It finds the real human qualities in a person like the Susan Sarandon character - who, in a crisis, reacts with loyalty and quick thinking.

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