For 4,126 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 10.1 points higher than other critics. (0-100 point scale)

Roger Ebert's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 The Piano
Lowest review score: 0 Chaos
Score distribution:
4126 movie reviews
    • 32 Metascore
    • 63 Roger Ebert
    Apart from funny supporting work by the inventor of the Mind Control and the guy in the "Q" role, the movie is pretty routine.
    • 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.
    • 32 Metascore
    • 75 Roger Ebert
    I guess you have to be in the mood for a goofball picture like this. I guess I was.
    • 32 Metascore
    • 63 Roger Ebert
    It's skillfully mounted and fitfully intriguing, but weaves such a tangled web that at the end I defy anyone in the audience to explain the exact loyalties and motives of the leading characters.
    • 32 Metascore
    • 63 Roger Ebert
    The movie presents the surfaces of Obermaier's life but never lets us understand who she was.
    • 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.
    • 32 Metascore
    • 38 Roger Ebert
    Emma writes everything down and then offers helpful suggestions, although she fails to supply the most useful observation of all, which would be to observe that the entire novel is complete crap.
    • 32 Metascore
    • 38 Roger Ebert
    A big, ugly, ungainly device to give teenagers the impression they are seeing a movie.
    • 32 Metascore
    • 63 Roger Ebert
    There's not much original about the film, but it's played with high spirits and good cheer, there are lots of musical interludes, and it's pitched straight at families.
    • 32 Metascore
    • 50 Roger Ebert
    As a movie, it knows little about men, women or television shows, but has studied movie formulas so carefully that we can see each new twist and turn as it creeps ever so slowly into view.
    • 32 Metascore
    • 75 Roger Ebert
    A messy but hungry film like this is more interesting than cool technical perfection.
    • 32 Metascore
    • 50 Roger Ebert
    This movie is all elbows. Nothing fits. It doesn't add up. It has some terrific free-standing scenes, but they need more to lean on.
    • 32 Metascore
    • 75 Roger Ebert
    A horrifying thriller, smart and tightly told, and merciless.
    • 32 Metascore
    • 50 Roger Ebert
    The movie's funny in the opening scenes and then forgets why it came to play.
    • 32 Metascore
    • 50 Roger Ebert
    As a viewer, we intuit that it is more, or less, than it seems: That in some sense, the whole project is a scam.
    • 32 Metascore
    • 50 Roger Ebert
    Repo Men makes sci-fi's strongest possible case for universal health care.
    • 31 Metascore
    • 25 Roger Ebert
    Here is a movie that will do for cheerleading what "Friday the 13th" did for summer camp.
    • 31 Metascore
    • 25 Roger Ebert
    Any plot discipline (necessary so that we care about some characters and not the others) has been lost in an orgy of special effects and general mayhem.
    • 31 Metascore
    • 38 Roger Ebert
    Although I did not understand the story, I would have appreciated a great deal less explanation. All through the movie, characters are pausing in order to offer arcane back-stories and historical perspectives and metaphysical insights and occult orientations. They talk and talk and somehow their words do not light up any synapses in my brain.
    • 31 Metascore
    • 75 Roger Ebert
    The movie's story actually does work as a story and not simply as a wheezy Hollywood formula. Sometimes you walk into a movie with quiet dread and walk out with quiet delight.
    • 31 Metascore
    • 50 Roger Ebert
    The plot becomes a juggling act just when it should be a sprint. And there's another problem: Is it intended as a comedy, or not?
    • 31 Metascore
    • 25 Roger Ebert
    Your Highness is a juvenile excrescence that feels like the work of 11-year-old boys in love with dungeons, dragons, warrior women, pot, boobs and four-letter words.
    • 31 Metascore
    • 38 Roger Ebert
    If there's anything I hate more than a stupid action comedy, it's an incompetent stupid action comedy. It's not so bad it's good. It's so bad it's nothing else but bad.
    • 31 Metascore
    • 50 Roger Ebert
    Chop off the last two or three minutes, fade to black, and you have a decent film.
    • 31 Metascore
    • 12 Roger Ebert
    Not bad so much as inexplicable. You watch in puzzlement: How did this train wreck happen?
    • 31 Metascore
    • 50 Roger Ebert
    They might have been able to make a nice little thriller out of Antitrust if they'd kept one eye on the Goofy Meter.
    • 31 Metascore
    • 25 Roger Ebert
    The characters in these movies exist in a Twilight Zone where thousands of rounds of ammunition are fired, but no one ever gets shot unless the plot requires him to.
    • 31 Metascore
    • 38 Roger Ebert
    None of the action is coherent; shots and shells are fired, people and killed or not, explosions rend the air, SUVs spin aloft (the same one more than once, I think), and there is no sense of strategy.
    • 31 Metascore
    • 50 Roger Ebert
    High School is a pun. Get it? This is one of those stoner comedies that may be funny if you're high - but if not, not.
    • 31 Metascore
    • 50 Roger Ebert
    Assembled from the debris of countless worn-out images of the Deep South and is indeed beautifully photographed. But the writer-director, Deborah Kampmeier, has become inflamed by the imagery and trusts it as the material for a story, which seems grotesque and lurid.
    • 31 Metascore
    • 25 Roger Ebert
    Isn't a bad movie, just a reprehensible one. It presents as comedy things that are not amusing. If you think this movie is funny, that tells me things about you I don't want to know.
    • 31 Metascore
    • 50 Roger Ebert
    Black somehow feels reigned in; shaved and barbered, he's lost his anarchic passion and is merely playing a comic role instead of transforming it into a personal mission.
    • 31 Metascore
    • 25 Roger Ebert
    Monster-in-Law fails the Gene Siskel Test: "Is this film more interesting than a documentary of the same actors having lunch?"
    • 31 Metascore
    • 25 Roger Ebert
    This is an ungainly movie, ill-fitting, with its elbows sticking out where the knees should be. To quote another ancient proverb, "A camel is a horse designed by a committee." Life or Something Like It is the movie designed by the camel.
    • 31 Metascore
    • 38 Roger Ebert
    A closing scene, rousingly patriotic, takes place back on the football field. I think I'm beginning to understand why the Chinese were not reckoned to be a prime market for this film.
    • 31 Metascore
    • 50 Roger Ebert
    All heart and has the best intentions in the world, but what a bore. It's a beat slower than it should be, it makes its points laboriously, and the plot surprise would be obvious even if I hadn't seen the same device used in exactly the same way earlier this year in "Chasing Liberty."
    • 64 Metascore
    • 88 Roger Ebert
    The Road evokes the images and the characters of Cormac McCarthy's novel. It is powerful, but for me lacks the same core of emotional feeling.
    • 31 Metascore
    • 38 Roger Ebert
    A lot of the dialogue is intended as funny, but man, is it lame.
    • 31 Metascore
    • 75 Roger Ebert
    Now why did I like this movie? It was just plain dumb fun, is why. It is absurd and preposterous, and proud of it.
    • 31 Metascore
    • 63 Roger Ebert
    Exhibiting high spirits and a crazed comic energy. It doesn't quite work, but it goes down swinging--with a disembodied hand.
    • 31 Metascore
    • 0 Roger Ebert
    The secrets of the plot must remain unrevealed by me, so that you can be offended by them yourself, but let it be said this movie is about as corrupt, intellectually bankrupt and morally dishonest as it could possibly be without David Gale actually hiring himself out as a joker at the court of Saddam Hussein.
    • 31 Metascore
    • 38 Roger Ebert
    Tells the story of a violent sociopath. Since it's about golf, that makes it a comedy.
    • 31 Metascore
    • 38 Roger Ebert
    [Robin Williams] has been ill-served by a screenplay that isn't curious about what his life would really be like.
    • 30 Metascore
    • 50 Roger Ebert
    A disjointed thriller with two many characters rattling around.
    • 30 Metascore
    • 50 Roger Ebert
    It looks great, it hurtles through its paces and is well-acted. The soundtrack is like elevator music if the elevator were in a death plunge. The special effects are state of the art. Its only flaw is that it's disgusting.
    • 30 Metascore
    • 25 Roger Ebert
    The Spirit is mannered to the point of madness. There is not a trace of human emotion in it. To call the characters cardboard is to insult a useful packing material.
    • 30 Metascore
    • 50 Roger Ebert
    That it works as well as it does is because the stars, Damon Wayans and Adam Sandler, have an easy rapport and some good one-liners, and the film is short and manic.
    • 30 Metascore
    • 50 Roger Ebert
    Consider for a moment how this movie might play if it took itself seriously. Would it be better than as a comedy? I suspect so.
    • 30 Metascore
    • 25 Roger Ebert
    Utterly clueless about its tone and has no idea how relentlessly it is undercutting itself. By the time we arrive at the obligatory happy ending, which is perfunctory and automatic, I felt sort of insulted. If Chandrasekhar thinks his audience will laugh at his vulgarity, why does he believe it requires a feel-good ending?
    • 30 Metascore
    • 75 Roger Ebert
    The tension between the slimefest milieu and the charm of the performances is maybe what makes Feeling Minnesota work.
    • 30 Metascore
    • 50 Roger Ebert
    All very nice, sometimes we smile, but there's nothing compelling.
    • 30 Metascore
    • 25 Roger Ebert
    Just when it seems about to become a real corker of an adventure movie, plunges into incomprehensible action, idiotic dialogue, inexplicable motivations, causes without effects, effects without causes, and general lunacy. What a mess.
    • 30 Metascore
    • 38 Roger Ebert
    The kind of movie beloved by people who never go to the movies, because they are primarily interested in something else--the Civil War, for example--and think historical accuracy is a virtue instead of an attribute.
    • 30 Metascore
    • 50 Roger Ebert
    It is happy to be goofy.
    • 30 Metascore
    • 38 Roger Ebert
    There must be humor here somewhere.
    • 30 Metascore
    • 50 Roger Ebert
    If you like the comic strip, now in its 56th year, maybe you'll like it, maybe not. Marmaduke's personality isn't nearly as engaging as Garfield's. Then again, if personality is what you're in the market for, maybe you shouldn't be considering a lip-synched talking animal comedy in the first place.
    • 30 Metascore
    • 38 Roger Ebert
    The kind of movie Mad magazine prays for. It is so earnest, so overwrought and so wildly implausible that it begs to be parodied.
    • 30 Metascore
    • 38 Roger Ebert
    If the movie is a lost cause, it may at least showcase actors who have better things ahead of them.
    • 30 Metascore
    • 50 Roger Ebert
    A pleasant, genial, good-hearted, sometimes icky comedy that's like spending a weekend with well-meaning people you don't want to see again any time real soon.
    • 30 Metascore
    • 25 Roger Ebert
    It’s badly written and inertly directed, with actors who don’t have a clue what drives their characters. This is one of those rare films that contains no chemistry at all. None. The actors scarcely seem to be in the same scenes together.
    • 30 Metascore
    • 38 Roger Ebert
    I laughed, yes, I did, several times during Deuce Bigalow: Male Gigolo. That's proof, if any is required, that I still possess streaks of immaturity and vulgarity.
    • 30 Metascore
    • 50 Roger Ebert
    Sweet, in its meandering way. It has no meanness in it, no cynicism, no desire to be anything other than what it is, an evocation of the fun of living your life as a skateboarder.
    • 30 Metascore
    • 63 Roger Ebert
    There's so much flashing forward and backward, so many spins of fate, so many chapters in the journals, that after awhile I felt that I, as well as time, was being jerked around.
    • 30 Metascore
    • 75 Roger Ebert
    The movie crosses two formulas -- Fish Out of Water and Coming of Age -- fairly effectively. Because it isn't wall-to-wall action but actually bothers to develop its characters and take an interest in them, it was not at first considered commercial by its distributor, New Line, and languished on the shelf for two years.
    • 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.
    • 30 Metascore
    • 38 Roger Ebert
    The movie is silly beyond comprehension, and even if it weren't silly, it would still be beyond comprehension.
    • 30 Metascore
    • 63 Roger Ebert
    So heavy on incident, contrivance, coincidence, improbability, sudden reversals and dizzying flash-forwards (sometimes years at a time) that it seems a wonder the characters don't crash into each other in the confusion.
    • 30 Metascore
    • 50 Roger Ebert
    Slap-happy entertainment painted in broad strokes, two coats thick.
    • 30 Metascore
    • 75 Roger Ebert
    It's not the romcom that's so entertaining, anyway; it's the slapstick.
    • 30 Metascore
    • 25 Roger Ebert
    The physical look of the picture is splendid. The screenplay is dead on arrival. The noise level is torture.
    • 29 Metascore
    • 25 Roger Ebert
    The movie should be praying to St. Jude, patron saint of lost causes. Maybe he could perform a miracle and turn this into a cable offering, so no one has to buy a ticket to see it.
    • 29 Metascore
    • 50 Roger Ebert
    There's a point at which the plot crosses an invisible line, becoming so preposterous that it's no longer moving and is just plain weird.
    • 29 Metascore
    • 38 Roger Ebert
    The movie is a paid holiday for its director, Harold Becker. I say this because I know what Becker is capable of.
    • 29 Metascore
    • 50 Roger Ebert
    The movie itself is genial and unfocused and tired.
    • 29 Metascore
    • 12 Roger Ebert
    Through superhuman effort of the will, I did not walk out of The Hot Chick, but reader, I confess I could not sit through the credits.
    • 29 Metascore
    • 50 Roger Ebert
    Do you like this sort of rom-com? It's a fair example of its type, not good, but competent.
    • 29 Metascore
    • 63 Roger Ebert
    The movie is so filled with action that dramatic conflict would be more than we could handle, so all of the characters are nice.
    • 29 Metascore
    • 63 Roger Ebert
    The interlocking stories are theoretically about people whose lives are associated; that worked in "Crash." Here the connections seem less immediate and significant, and so the movie sometimes seems based on a group of separate short stories.
    • 29 Metascore
    • 50 Roger Ebert
    It's not that I don't like it. It's that I don't care.
    • 29 Metascore
    • 50 Roger Ebert
    The whole movie is so solemn, so worshipful toward its theme, that it's finally just silly.
    • 29 Metascore
    • 25 Roger Ebert
    Has the added inconvenience of being dreadfully serious about a plot so preposterous, it demands to be filmed by Monty Python.
    • 29 Metascore
    • 50 Roger Ebert
    Watching Just My Luck, I wished I were a teenage girl, not for any perverse reason but because then I might have enjoyed it a lot more.
    • 29 Metascore
    • 38 Roger Ebert
    There are those who will no doubt call The Postman the worst film of the year, but it's too good-hearted for that.
    • 29 Metascore
    • 50 Roger Ebert
    Seemed kind of stuffy.
    • 29 Metascore
    • 25 Roger Ebert
    There are scenes here where Breillat deliberately disgusts us, not because we are disgusted by the natural life functions of women, as she implies, but simply because The Woman does things that would make any reasonable Man, or Woman, for that matter, throw up.
    • 28 Metascore
    • 50 Roger Ebert
    The movie's pleasures are scant, apart from its observance of Gene Siskel's Rule of Swimming Pool Adjacency, which states that when well-dressed people are near a swimming pool, they will - yeah, you got it.
    • 28 Metascore
    • 50 Roger Ebert
    The kind of performance Penn delivers in I Am Sam, which may look hard, is easy, compared, say, to his amazing work in Woody Allen's "Sweet and Lowdown."
    • 28 Metascore
    • 50 Roger Ebert
    Possibly the funniest movie ever made about Catholicism. It confuses the phenomenon of stigmata with satanic possession.
    • 28 Metascore
    • 38 Roger Ebert
    Another one of those road comedies where Southern roots are supposed to make boring people seem colorful. If these characters were from Minneapolis or Denver, no way anyone would make a film about them.
    • 28 Metascore
    • 25 Roger Ebert
    Shameless in its use of mental retardation as a gimmick, a prop and a plot device. Anyone with any knowledge of retardation is likely to find the film offensive.
    • 28 Metascore
    • 38 Roger Ebert
    I cringed.
    • 28 Metascore
    • 50 Roger Ebert
    Is the film worth seeing? Depends. It breaks no new ground as horror movies go, but it does introduce an intriguing location, and it's well made technically. It's better than you expect but not as good as you hope.
    • 28 Metascore
    • 12 Roger Ebert
    Even Cowgirls Get the Blues is one of the more empty, pointless, baffling films I can remember, and the experience of viewing it is an exercise in nothingness.
    • 28 Metascore
    • 75 Roger Ebert
    A mercilessly convoluted version of a Twister, that genre in which the plot whacks us as if it's taking batting practice. I will not hint at anything that happens. I will simply observe that it's all entertaining.
    • 28 Metascore
    • 50 Roger Ebert
    I felt too much of the movie consisted of groups of characters I didn't care about, running down passageways and fighting off enemies and trying to get back to the present before the window of time slams shut.
    • 28 Metascore
    • 75 Roger Ebert
    It is exciting to watch this movie. It is never boring. Lee is like a juggler who starts out with balls and gradually adds baseball bats, top hats and chainsaws. It's not an intellectual experience, but an emotional one.
    • 28 Metascore
    • 50 Roger Ebert
    By the ending of the film, which is unconvincingly neat, I was distracted by too many questions to care about the answers.
    • 28 Metascore
    • 50 Roger Ebert
    Batman & Robin, like the first three films in the series, is wonderful to look at, and has nothing authentic at its core.
    • 28 Metascore
    • 38 Roger Ebert
    Would it have been that much more difficult to make a movie in which Tom and Sarah were plausible, reasonably articulate newlyweds with the humor on their honeymoon growing out of situations we could believe? Apparently.
    • 28 Metascore
    • 75 Roger Ebert
    This isn't a great movie. But it's sincere as an entertainment, it looks good, it's atmospheric, and I will perk up the next time I hear Gianna is in a picture.
    • 28 Metascore
    • 25 Roger Ebert
    Cool World is a seriously troubled film, so ragged I doubt if even the director can explain the story line.
    • 28 Metascore
    • 50 Roger Ebert
    The script must have been a funny read. It's the movie that somehow never achieves takeoff speed.
    • 28 Metascore
    • 25 Roger Ebert
    A film is a terrible thing to waste. For Roman Coppola to waste one on A Glimpse Inside the Mind of Charles Swan III is a sad sight to behold. I'll go further. For Charlie Sheen to waste a role in it is also a great pity. I stop not: For Bill Murray to occupy his time in this dreck sandwich is a calamity.
    • 28 Metascore
    • 25 Roger Ebert
    Now I am faced with this movie, the most anticlimactic non-event since Geraldo Rivera broke into Al Capone's vault.
    • 28 Metascore
    • 50 Roger Ebert
    You know I am a fan of Nic Cage and Ron Perlman. Here, like cows, they devour the scenery, regurgitate it to a second stomach found only in actors and chew it as cud. It is a noble effort, but I prefer them in their straight-through Human Centipede mode.
    • 28 Metascore
    • 50 Roger Ebert
    The comedy bogs down in relentless predictability and the puzzling overuse of naughty words.
    • 28 Metascore
    • 50 Roger Ebert
    The director, Jared Hess, who made "Napoleon Dynamite," a film I admit I didn't get, has made a film I don't even begin to get.
    • 27 Metascore
    • 38 Roger Ebert
    Opens with 15 funny minutes and then goes dead in the water.
    • 27 Metascore
    • 25 Roger Ebert
    The Perfect Man crawls hand over bloody hand up the stony face of this plot, while we in the audience do not laugh because it is not nice to laugh at those less fortunate than ourselves, and the people in this movie are less fortunate than the people in just about any other movie I can think of, simply because they are in it.
    • 27 Metascore
    • 25 Roger Ebert
    Passes off pathological behavior as romantic bliss. It's about two sick and twisted people playing mind games and calling it love.
    • 27 Metascore
    • 12 Roger Ebert
    An ideal first movie for infants, who can enjoy the bright colors on the screen and wave their tiny hands to the music.
    • 27 Metascore
    • 75 Roger Ebert
    The filmmakers obviously understand and love Garfield, and their movie lacks that sense of smarmy slumming you sometimes get when Hollywood brings comic strips to the screen.
    • 27 Metascore
    • 0 Roger Ebert
    This despicable remake of the despicable 1978 film "I Spit on Your Grave" adds yet another offense: a phony moral equivalency.
    • 27 Metascore
    • 25 Roger Ebert
    The movie is unpleasant to look at. It's darker than "Seven," but without sufficient purpose, and my overall memory of it is of people screaming in the shadows. To call this a comedy is a sign of optimism; to call it a comeback for Murphy is a sign of blind faith.
    • 27 Metascore
    • 50 Roger Ebert
    I would have loved to see a genuine love story involving Ice Cube, Nia Long, and the challenge of a lifelong bachelor dating a woman with children. Sad that a story like that couldn't get made, but this shrill "comedy" could.
    • 27 Metascore
    • 25 Roger Ebert
    Some of these people make my skin crawl. The characters of Sex and the City 2 are flyweight bubbleheads living in a world which rarely requires three sentences in a row.
    • 27 Metascore
    • 38 Roger Ebert
    What possible reason was there for anyone to make Did You Hear About the Morgans? Or should I say "remake," because this movie has been made and over and over again, and oh, so much better.
    • 27 Metascore
    • 38 Roger Ebert
    I went to Crossroads expecting a glitzy bimbofest and got the bimbos but not the fest. Britney Spears' feature debut is curiously low-key and even sad.
    • 27 Metascore
    • 88 Roger Ebert
    It tells a full story with three acts, it introduces characters we get to know and care about, and it has something it passionately wants to say.
    • 27 Metascore
    • 25 Roger Ebert
    The director, whose name is Pitof, was probably issued with two names at birth and would be wise to use the other one on his next project.
    • 27 Metascore
    • 50 Roger Ebert
    My two-star rating represents a compromise between admiration and horror.
    • 27 Metascore
    • 38 Roger Ebert
    Everybody knew to wait for the outtakes during the closing credits, because you'd see him miss a fire escape or land wrong in the truck going under the bridge. Now the outtakes involve his use of the English language.
    • 27 Metascore
    • 50 Roger Ebert
    There is a reason to see the movie, and that reason is Piper Perabo.
    • 27 Metascore
    • 75 Roger Ebert
    As a well-crafted, well-written and well-acted entertainment, it drew me in and got its job done.
    • 27 Metascore
    • 50 Roger Ebert
    Jessica Biel all but steals the show as Stacie.
    • 27 Metascore
    • 38 Roger Ebert
    The Perfect Sleep puts me in mind of a flywheel spinning in the void. It is all burnished brass and shining steel, perfectly balanced as it hums in its orbit; yet, because it occupies a void, it satisfies only itself and touches nothing else. Here is a movie that goes about its business without regard for an audience.
    • 27 Metascore
    • 12 Roger Ebert
    A comedy so listless, leisurely and unspirited that it was an act of the will for me to care about it, even while I was watching it.
    • 27 Metascore
    • 25 Roger Ebert
    In a film that is wall-to-wall idiocy, the most tiresome delusion is that car chases are funny.
    • 27 Metascore
    • 63 Roger Ebert
    I cannot in strict accuracy recommend this film. It's such a jumble of action and motivation, ill-defined characters and action howlers.
    • 27 Metascore
    • 75 Roger Ebert
    Old-fashioned and obvious, yes, like a featherweight comedy from the 1950s. But that's the charm.
    • 27 Metascore
    • 75 Roger Ebert
    Adult audiences may be underwhelmed. Not younger teenage girls, who will be completely fascinated.
    • 27 Metascore
    • 38 Roger Ebert
    An innocuous family feature that's too little/too late in the fast-moving world of feature animation.
    • 26 Metascore
    • 38 Roger Ebert
    Walks like a thriller and talks like a thriller, but it squawks like a turkey.
    • 26 Metascore
    • 38 Roger Ebert
    The poster art for A Thousand Words shows Eddie Murphy with duct tape over his mouth, which as a promotional idea ranks right up there with Fred Astaire in leg irons.
    • 26 Metascore
    • 50 Roger Ebert
    This is not the sort of movie you make it your business to see in a theater. But if you're ever surfing cable TV and come across it, you'll linger.
    • 26 Metascore
    • 25 Roger Ebert
    Laughter for me was such a physical impossibility during National Lampoon's Van Wilder that had I not been pledged to sit through the film, I would have lifted myself up by my bootstraps and fled.
    • 26 Metascore
    • 38 Roger Ebert
    It's a lot of things, but boring is not one of them. I cannot recommend the movie, but ... why the hell can't I? Just because it's godawful? What kind of reason is that for staying away from a movie? Godawful and boring, that would be a reason.
    • 26 Metascore
    • 25 Roger Ebert
    The sad thing about A Night at the Roxbury is that the characters are in a one-joke movie, and they're the joke.
    • 26 Metascore
    • 25 Roger Ebert
    A movie, based on the popular Dean Koontz novel, that seems to have been made by grinding up other films and feeding them to this one.
    • 26 Metascore
    • 50 Roger Ebert
    A pointless exercise in "shocking" behavior.
    • 25 Metascore
    • 0 Roger Ebert
    What a strange, confused, unpleasant movie this is. Two theories have clustered around it: (1) It is anti-Mormon propaganda to muddy the waters around the presidential campaign of Mitt Romney, or (2) it is not about Mormons at all, but an allegory about the 9/11/01 terrorists. Take your choice. The problem with allegories is that you can plug them in anywhere. No doubt the film would have great impact in Darfur.
    • 25 Metascore
    • 50 Roger Ebert
    Slides too easily into its sentimentality; the characters should have put up more of a struggle.
    • 25 Metascore
    • 38 Roger Ebert
    The movie offers brainless high-tech action without interesting dialogue, characters, motivation or texture.
    • 25 Metascore
    • 25 Roger Ebert
    The movie was executive produced by Quentin Tarantino. Shame on him. He intends it no doubt as another homage to grindhouse pictures, but I've seen a lot of them, and they were nowhere near this bad. "Hell's Angels on Wheels," for example: pretty good.
    • 25 Metascore
    • 25 Roger Ebert
    For years there have been reports of the death of the Western. Now comes American Outlaws, proof that even the B Western is dead.
    • 25 Metascore
    • 50 Roger Ebert
    My problem was that I didn't care who killed Mona Dearly, or why, and didn't want to know anyone in town except for Chief Rash and his daughter.
    • 25 Metascore
    • 38 Roger Ebert
    Made me want to spray the screen with Lysol. This movie is shameless. It's not merely a tearjerker. It extracts tears individually by liposuction, without anesthesia.
    • 25 Metascore
    • 12 Roger Ebert
    One element of Sorority Boys is undeniably good, and that is the title. Pause by the poster on the way into the theater. That will be your high point.
    • 25 Metascore
    • 25 Roger Ebert
    A garage sale of gay issues, harnessed to a plot as exhausted as a junkman's horse.
    • 25 Metascore
    • 25 Roger Ebert
    A terrible movie, sappy and dead in the water.
    • 25 Metascore
    • 25 Roger Ebert
    It has no edge, no hunger to be better than it is. It ambles pleasantly through its inanity, like a guest happy to be at a boring party.
    • 25 Metascore
    • 12 Roger Ebert
    Jason X sucks on the levels of storytelling, character development, suspense, special effects, originality, punctuation, neatness and aptness of thought. Only its title works.
    • 25 Metascore
    • 12 Roger Ebert
    It is a "thriller" without thrills, constructed in a meaningless jumble of flashbacks and flash-forwards and subtitles and mottos and messages and scenes that are deconstructed, reconstructed and self-destructed. I wanted to signal the projectionist to put a gun to it.
    • 25 Metascore
    • 25 Roger Ebert
    I realized there was no hope for the movie because the plot and characters had alienated me beyond repair. If an audience is going to be entertained by a film, first they have to be able to stand it.
    • 25 Metascore
    • 50 Roger Ebert
    The plot, in short, is underwhelming. It merely follows the reporters as the screenplay serves them the solution to their case on a silver platter. Yet curiously, Deadline flows right along.
    • 25 Metascore
    • 38 Roger Ebert
    It's surprising to see a director like Michael Apted and an actress like Jennifer Lopez associated with such tacky material.
    • 24 Metascore
    • 25 Roger Ebert
    Weekend at Bernie’s makes two mistakes: It gives us a joke that isn’t very funny, and it expects the joke to carry an entire movie.
    • 24 Metascore
    • 50 Roger Ebert
    It makes little sense, fails as often as it succeeds, and yet is not hateful and is sometimes quite cheerfully original.
    • 24 Metascore
    • 25 Roger Ebert
    Bad movie. Ugly movie.
    • 24 Metascore
    • 50 Roger Ebert
    A Sound of Thunder may not be a success, but it loves its audience and wants us to have a great time.
    • 24 Metascore
    • 25 Roger Ebert
    A fog of gloom lowers over The Whole Ten Yards, as actors who know they're in a turkey try their best to prevail.
    • 24 Metascore
    • 25 Roger Ebert
    So ludicrous in so many different ways it achieves a kind of forlorn grandeur.
    • 24 Metascore
    • 38 Roger Ebert
    There's no chemistry between Deeds and Babe, but then how could there be, considering that their characters have no existence, except as the puppets in scenes of plot manipulation.
    • 24 Metascore
    • 25 Roger Ebert
    If he wants a future in the movies, Andrew Dice Clay is going to have to play somebody other than himself.
    • 24 Metascore
    • 50 Roger Ebert
    Bride Wars is pretty thin soup. The characters have no depth or personality, no quirks or complications, no conversation.
    • 24 Metascore
    • 50 Roger Ebert
    Predictable to its very core, and in a funny way the predictability is part of the fun. The movie is in on the joke of its own recycling.
    • 24 Metascore
    • 38 Roger Ebert
    Movies like this demonstrate that when it comes to stupidity and vulgarity, only the best will do for our children.
    • 24 Metascore
    • 38 Roger Ebert
    As for Shaquille O'Neal, given his own three wishes the next time, he should go for a script, a director and an interesting character.
    • 24 Metascore
    • 50 Roger Ebert
    It's a thriller, a bad thriller, completely lacking in psychological or emotional truth.
    • 24 Metascore
    • 50 Roger Ebert
    Hollow Man can think of nothing more interesting to do than spy on his girlfriend and assault his neighbor.Too bad. Really too bad, because the movie is supported by some of the most intriguing special effects I've seen.
    • 24 Metascore
    • 25 Roger Ebert
    Myers has made some funny movies, but this film could have been written on toilet walls by callow adolescents.
    • 24 Metascore
    • 25 Roger Ebert
    An idiotic ode to macho horseshite (to employ an ancient Irish word). It is however distinguished by superb cinematography.
    • 23 Metascore
    • 50 Roger Ebert
    If it does nothing else, Another 48 HRS reminds us that Murphy is a big, genuine talent. Now it's time for him to make a good movie.
    • 23 Metascore
    • 0 Roger Ebert
    Speaking in my official capacity as a Pulitzer Prize winner, Mr. Schneider, your movie sucks.
    • 23 Metascore
    • 50 Roger Ebert
    Among the better things in the movie, I count Vaughn's well-timed and smart dialogue.
    • 23 Metascore
    • 50 Roger Ebert
    The plot is easily summarized: "Dumb and Dumber Meet Dumbbell."
    • 23 Metascore
    • 25 Roger Ebert
    A fourth-rate "Pulp Fiction" with accents you can't understand.
    • 23 Metascore
    • 25 Roger Ebert
    It's a movie with so many inconsistencies, improbabilities, unanswered questions and unfinished characters that we have to suspend not only disbelief but also intelligence.
    • 23 Metascore
    • 88 Roger Ebert
    Movies like this embrace goofiness with an almost sensual pleasure.
    • 23 Metascore
    • 12 Roger Ebert
    It goes through the motions of an action thriller, but there is a deadness at its center, a feeling that no one connected with it loved what they were doing.
    • 23 Metascore
    • 50 Roger Ebert
    Heaven help the unsuspecting families who wander into Adam Sandler's Eight Crazy Nights expecting a jolly animated holiday funfest.
    • 22 Metascore
    • 38 Roger Ebert
    Why, oh, why, was this movie necessary?
    • 22 Metascore
    • 38 Roger Ebert
    I seem to be developing a rule about talking animals: They can talk if they're cartoons or Muppets, but not if they're real.
    • 22 Metascore
    • 25 Roger Ebert
    Desperately unfunny.
    • 22 Metascore
    • 12 Roger Ebert
    So bad in so many different ways that perhaps you should see it, as an example of the lowest slopes of the bell-shaped curve.
    • 22 Metascore
    • 75 Roger Ebert
    The result is not a movie that is very good, exactly, but it's entertaining and funny.
    • 22 Metascore
    • 38 Roger Ebert
    A slick production of a lame script, which kills time for most of its middle half-hour. If anyone in the plot had the slightest intelligence, the story would implode.
    • 22 Metascore
    • 25 Roger Ebert
    New Year's Eve is a dreary plod through the sands of time until finally the last grain has trickled through the hourglass of cinematic sludge. How is it possible to assemble more than two dozen stars in a movie and find nothing interesting for any of them to do?
    • 22 Metascore
    • 50 Roger Ebert
    The actors cannot be faulted. They bring more to the story than it really deserves.
    • 22 Metascore
    • 25 Roger Ebert
    Doesn't have anything wrong with it that couldn't be fixed by adding Ebenezer Scrooge and Bad Santa to the cast. It's a holiday movie of stunning awfulness that gets even worse when it turns gooey at the end.
    • 22 Metascore
    • 38 Roger Ebert
    It's a shaky-cam meander through an unconvincing relationship, with detours considering the process of making the film. At 91 minutes, it seems very long.
    • 22 Metascore
    • 50 Roger Ebert
    Well, you can't fault the actors. That must mean it's the fault of the writer and director. Take is a monotonous slog through dirgeland, telling a story that seems strung out beyond all reason, with flashbacks upon flashbacks delaying interminably the underwhelming climax.
    • 21 Metascore
    • 25 Roger Ebert
    The movie doesn't understand that embarrassment comes in a sudden painful flush of realization; drag it out, and it's not embarrassment anymore, but public humiliation, which is a different condition, and not funny.
    • 21 Metascore
    • 25 Roger Ebert
    House of the Sleeping Beauties has missed its ideal release window by about 40 years. It might -- might -- have found an audience in that transitional period between soft- and hard-core.
    • 21 Metascore
    • 25 Roger Ebert
    Assembles the building blocks of idiot-proof slasher movies: Stings, Snicker-Snacks, false alarms and point-of-view baits-and-switches.
    • 21 Metascore
    • 25 Roger Ebert
    These actors, alas, are at the service of a submoronic script and special effects that look like a video game writ large.
    • 21 Metascore
    • 38 Roger Ebert
    Here's a movie without an ounce of human kindness, a sour and mean-spirited enterprise so desperate to please, it tries to be a yukky comedy and a hard-boiled action picture at the same time.
    • 20 Metascore
    • 63 Roger Ebert
    If The Informers doesn't sound to you like a pleasant time at the movies, you are right. To repeat: dread, despair and doom. It is often however repulsively fascinating and has been directed by Gregor Jordan as a soap opera from hell, with good sets and costumes.
    • 20 Metascore
    • 38 Roger Ebert
    What we basically have here is a license for the filmmakers to do whatever they want to do with the special effects, while the plot, like Wile E. Coyote, keeps running into the wall.
    • 20 Metascore
    • 12 Roger Ebert
    The Last Airbender is an agonizing experience in every category I can think of and others still waiting to be invented.
    • 20 Metascore
    • 38 Roger Ebert
    It involves teenagers who have never existed, doing things no teenager has ever done, for reasons no teenager would understand. Of course, it's aimed at the teenage market.
    • 20 Metascore
    • 38 Roger Ebert
    Joe Dirt is so obviously a construction that it is impossible to find anything human about him; he is a concept, not a person.
    • 20 Metascore
    • 12 Roger Ebert
    A dead zone of comedy. The concept is exhausted, the ideas are tired, the physical gags are routine, the story is labored, the actors look like they can barely contain their doubts about the project.
    • 19 Metascore
    • 50 Roger Ebert
    It's another overwrought clunker like "How the Grinch Stole Christmas," all effects and stunts and CGI and prosthetics, with no room for lightness and joy.
    • 19 Metascore
    • 25 Roger Ebert
    "Deep Rising" was one of the worst movies of 1998. Virus is easily worse.
    • 19 Metascore
    • 25 Roger Ebert
    A perfectly good idea for a comedy, but it just plain doesn't work. It's dead in the water. I can imagine it working well in a different time, with a different cast, in black and white instead of color--but I can't imagine it working like this.
    • 19 Metascore
    • 25 Roger Ebert
    An inept assembly of ill-matched plot points, meandering through a production that has attractive art direction (despite the immobile mouths).
    • 19 Metascore
    • 25 Roger Ebert
    Underclassman doesn't even try to be good. It knows that it doesn't have to be. It stars Nick Cannon, who has a popular MTV show, and it's a combo cop movie, romance, thriller and high school comedy. That makes the TV ads a slam dunk; they'll generate a Pavlovian response in viewers conditioned to react to their sales triggers (smartass young cop, basketball, sexy babes, fast cars, mockery of adults).
    • 19 Metascore
    • 25 Roger Ebert
    Stupefying dimwitted.
    • 19 Metascore
    • 25 Roger Ebert
    Here is the dirty movie of the year, slimy and scummy, and among its casualties is poor Jessica Alba, who is a cutie and shouldn't have been let out to play with these boys.
    • 19 Metascore
    • 25 Roger Ebert
    In asking us to believe David Spade as a romantic lead, it miscalculates beyond all reason.
    • 19 Metascore
    • 75 Roger Ebert
    8MM
    It is a real film. Not a slick exploitation exercise with all the trappings of depravity but none of the consequences.
    • 19 Metascore
    • 12 Roger Ebert
    The movie is a chaotic mess, overloaded with special effects and explosions, light on continuity, sanity and coherence.
    • 18 Metascore
    • 12 Roger Ebert
    It's an arch, awkward, ill-timed, forced political comedy set in 1959 and seemingly stranded there.
    • 18 Metascore
    • 63 Roger Ebert
    Lopez and Affleck are sweet and appealing in their performances; the buzz said they didn't have chemistry, but the buzz was wrong. What they don't have is conviction.
    • 18 Metascore
    • 25 Roger Ebert
    A deserted island movie during which I desperately wished the characters had chosen one movie to take along if they were stranded on a deserted island, and were showing it to us instead of this one.
    • 18 Metascore
    • 50 Roger Ebert
    The kind of movie where you walk in, watch the first 10 minutes, know exactly where it's going, and hope devoutly that you're wrong.
    • 18 Metascore
    • 12 Roger Ebert
    Not that the film is outrageous. That would be asking too much. It is dim-witted, unfunny, too shallow to be offensive.
    • 18 Metascore
    • 25 Roger Ebert
    From what dark night of the soul emerged the wretched idea for The Nutcracker in 3D? Who considered it even remotely a plausible idea for a movie?
    • 18 Metascore
    • 38 Roger Ebert
    Very seriously confused in its objectives.
    • 17 Metascore
    • 38 Roger Ebert
    The movie is set up as a valentine to Vardalos. She should try sending herself flowers.
    • 17 Metascore
    • 25 Roger Ebert
    Staying Alive is a big disappointment.
    • 17 Metascore
    • 0 Roger Ebert
    The film is reprehensible, dismaying, ugly, artless and an affront to any notion, however remote, of human decency.
    • 17 Metascore
    • 38 Roger Ebert
    The screenplay by Kim Barker requires Bullock to behave in an essentially disturbing way that began to wear on me. It begins as merely peculiar, moves on to miscalculation and becomes seriously annoying.
    • 16 Metascore
    • 50 Roger Ebert
    Has an intriguing cast, a director who knows how to use his camera and a lot of sly humor. Shame about the story. When you see this many of the right elements in a lame movie, you wonder how close they came to making a better one.
    • 16 Metascore
    • 50 Roger Ebert
    Possesses the art and craft of a good movie, but not the story.
    • 16 Metascore
    • 50 Roger Ebert
    Has slick production credits and performances that are quite adequate given the (narrow) opportunities of the genre.
    • 16 Metascore
    • 50 Roger Ebert
    If the plot and screenplay are juvenile, the production values are first-rate, and the lead performance by newcomer Elizabeth Berkley has a fierce energy that's always interesting.
    • 16 Metascore
    • 50 Roger Ebert
    Strange, how good feardotcom is, and how bad. The screenplay is a mess, and yet the visuals are so creative this is one of the rare bad films you might actually want to see.
    • 16 Metascore
    • 50 Roger Ebert
    People may go to see Eddie Murphy once, twice, three or even six times in disposable movies like Harlem Nights, but if he wants to realize his potential he needs to work with a better writer and director than himself.
    • 15 Metascore
    • 0 Roger Ebert
    There is a bright spot. He (Poirier) used up all his doggy-do-do ideas in the first picture "See Spot Run."
    • 15 Metascore
    • 50 Roger Ebert
    It's a muddled, sometimes-atmospheric effort.
    • 15 Metascore
    • 50 Roger Ebert
    Pesci has a lot of scenes that strike just the right note.
    • 14 Metascore
    • 38 Roger Ebert
    Maybe there's too much talent. Every character shines with such dazzling intensity and such inexhaustible comic invention that the movie becomes tiresome, like too many clowns.
    • 14 Metascore
    • 12 Roger Ebert
    An incoherent mess, a jumble of footage in search of plot, meaning, rhythm and sense.
    • 14 Metascore
    • 38 Roger Ebert
    Dungeons & Dragons looks like they threw away the game and photographed the box it came in.
    • 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.
    • 13 Metascore
    • 50 Roger Ebert
    Fair Game works as a thriller for anyone who lives entirely in the present.
    • 13 Metascore
    • 0 Roger Ebert
    This movie doesn't scrape the bottom of the barrel. This movie isn't the bottom of the barrel. This movie isn't below the bottom of the barrel. This movie doesn't deserve to be mentioned in the same sentence with barrels.
    • 12 Metascore
    • 50 Roger Ebert
    The more you think about what really happens in Cocktail, the more you realize how empty and fabricated it really is.
    • 12 Metascore
    • 0 Roger Ebert
    A dirty movie. Not a sexy, erotic, steamy or even smutty movie, but a just plain dirty movie. It made me feel unclean, and I'm the guy who liked "There's Something About Mary" and both "American Pie" movies.
    • 12 Metascore
    • 25 Roger Ebert
    Pants and wheezes and hurls itself exhausted across the finish line after barely 65 minutes of movie, and then follows it with 15 minutes of end credits in an attempt to clock in as a feature film.
    • 9 Metascore
    • 12 Roger Ebert
    Awful in so many different ways.
    • 9 Metascore
    • 0 Roger Ebert
    Dirty Love wasn't written and directed, it was committed. Here is a film so pitiful, it doesn't rise to the level of badness. It is hopelessly incompetent.
    • 6 Metascore
    • 38 Roger Ebert
    Bad films are easy to make, but a film as unpleasant as Baby Geniuses' achieves a kind of grandeur.
    • 5 Metascore
    • 38 Roger Ebert
    This movie should have been struck by a lightning bolt.
    • 1 Metascore
    • 0 Roger Ebert
    Chaos is ugly, nihilistic, and cruel -- a film I regret having seen. I urge you to avoid it.
    • tbd Metascore
    • 75 Roger Ebert
    Munger Road does an efficient, skillful job of audience manipulation using the techniques of darkness and vulnerability, and the truth that a horror not seen is almost always scarier than one you can see.
    • tbd Metascore
    • 88 Roger Ebert
    The film's value is in its portrait of Ruth, and her independence as a solo outsider in a vast, uncaring city.
    • tbd Metascore
    • 75 Roger Ebert
    You've seen houses with pumpkins in the windows and skeletons hanging from the trees, but you may never have seen such elaborate displays as the ones constructed by Victor Bariteau, Manny Souza, and Matthew and Richard Brodeur.

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