For 4,073 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 11.9 points higher than other critics. (0-100 point scale)

Roger Ebert's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 Waking Life
Lowest review score: 0 I Spit on Your Grave
Score distribution:
4,073 movie reviews
    • 100 Metascore
    • 100 Roger Ebert
    What a bold, mad act of genius it was, to make Lawrence of Arabia, or even think that it could be made.
    • 100 Metascore
    • 100 Roger Ebert
    Bresson suggests that we are all Balthazars. Despite our dreams, hopes and best plans, the world will eventually do with us whatever it does.
    • 100 Metascore
    • 100 Roger Ebert
    The wedding sequence... is a virtuoso stretch of filmmaking: Coppola brings his large cast onstage so artfully that we are drawn at once into the Godfather's world.
    • 100 Metascore
    • 100 Roger Ebert
    The Leopard was written by the only man who could have written it, directed by the only man who could have directed it, and stars the only man who could have played its title character.
    • 100 Metascore
    • 100 Roger Ebert
    The movie is astonishingly beautiful. The cinematography is by Bergman's longtime collaborator Sven Nykvist.
    • 99 Metascore
    • 100 Roger Ebert
    One of the greatest of all American films, but has never received the attention it deserves because of its lack of the proper trappings. Many "great movies'' are by great directors, but Laughton directed only this one film, which was a critical and commercial failure long overshadowed by his acting career.
    • 99 Metascore
    • 100 Roger Ebert
    This restored 35mm print, now in art theaters around the country, may be 37 years old, but it is the best foreign film of the year.
    • 98 Metascore
    • 100 Roger Ebert
    One of the greatest of all fantasy films.
    • 98 Metascore
    • 100 Roger Ebert
    A film like "Hoop Dreams" is what the movies are for. It takes us, shakes us, and make us think in new ways about the world around us. It gives us the impression of having touched life itself.
    • 98 Metascore
    • 100 Roger Ebert
    Does what many great films do, creating a time, place and characters so striking that they become part of our arsenal of images for imagining the world.
    • 97 Metascore
    • 100 Roger Ebert
    Starting with Le Petit Soldat, Godard was forging his own individualistic art and becoming the most relevant director of our time.
    • 97 Metascore
    • 100 Roger Ebert
    This is a powerful film and a stark visual accomplishment, but no thanks to Gabita (Laura Vasiliu). The driving character is her roommate Otilia (Anamaria Marinca), who does all the heavy lifting.
    • 97 Metascore
    • 100 Roger Ebert
    This is one of the funniest movies ever made. To see it now is to understand that. To see it for the first time in 1968, when I did, was to witness audacity so liberating that not even "There's Something About Mary" rivals it.
    • 97 Metascore
    • 100 Roger Ebert
    Made with sublime innocence and breathtaking artistry, at a time when its simple values rang true.
    • 96 Metascore
    • 100 Roger Ebert
    Seen after 30 years, Dr. Strangelove seems remarkably fresh and undated - a clear-eyed, irreverant, dangerous satire. And its willingness to follow the situation to its logical conclusion - nuclear annihilation - has a purity that today's lily-livered happy-ending technicians would probably find a way around.
    • 96 Metascore
    • 100 Roger Ebert
    This is clearly one of the best of the year's films. Every time an animated film is successful, you have to read all over again about how animation isn't "just for children" but "for the whole family," and "even for adults going on their own." No kidding!
    • 96 Metascore
    • 100 Roger Ebert
    No movie has had a greater impact on the way people looked. The music of course is immortal.
    • 95 Metascore
    • 100 Roger Ebert
    David Fincher's film has the rare quality of being not only as smart as its brilliant hero, but in the same way. It is cocksure, impatient, cold, exciting and instinctively perceptive.
    • 95 Metascore
    • 75 Roger Ebert
    Do we want to know more about Osama bin Laden and al Qaida and the history and political grievances behind them? Yes, but that's not how things turned out. Sorry, but there you have it.
    • 95 Metascore
    • 100 Roger Ebert
    The actors, as sometimes happens, create those miracles that can endow a film with conviction. Moadi and Hatami, as husband and wife, succeed in convincing us their characters are acting from genuine motives.
    • 94 Metascore
    • 100 Roger Ebert
    Here is a movie that was made more than 25 years ago, and it feels as if it were made yesterday. Not a moment of The Manchurian Candidate lacks edge and tension and a cynical spin. [Re-release]
    • 94 Metascore
    • 100 Roger Ebert
    It's enchanting and delightful in its own way, and has a good heart. It is the best animated film of recent years, the latest work by Hayao Miyazaki, the Japanese master who is a god to the Disney animators.
    • 94 Metascore
    • 100 Roger Ebert
    This movie made my heart glad. It is filled with innocence, hope, and good cheer. It is also wickedly funny and exciting as hell.
    • 94 Metascore
    • 100 Roger Ebert
    Like "Citizen Kane," Pulp Fiction is constructed in such a nonlinear way that you could see it a dozen times and not be able to remember what comes next.
    • 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.
    • 94 Metascore
    • 100 Roger Ebert
    It is astonishingly original.
    • 94 Metascore
    • 88 Roger Ebert
    Succeeds at being three things at once: an enthralling animated film, a visual wonderment and a decent science-fiction story.
    • 94 Metascore
    • 100 Roger Ebert
    The characters are played not by the first actors you would think of casting, but by actors who will prevent you from ever being able to imagine anyone else in their roles.
    • 94 Metascore
    • 88 Roger Ebert
    There is little enough psychological depth anywhere in the films, actually, and they exist mostly as surface, gesture, archetype and spectacle. They do that magnificently well, but one feels at the end that nothing actual and human has been at stake.
    • 94 Metascore
    • 100 Roger Ebert
    An unexpected kind of masterpiece by Haneke, whose films have included the enigmatic "Caché" and the earlier Golden Palm winner "The White Ribbon." We don't expect such unflinching seriousness, such profundity from Haneke.

Top Trailers