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 Somewhere
Lowest review score: 0 Tomcats
Score distribution:
4,035 movie reviews
    • 91 Metascore
    • 100 Roger Ebert
    Many of the scenes in No Country for Old Men are so flawlessly constructed that you want them to simply continue, and yet they create an emotional suction drawing you to the next scene. Another movie that made me feel that way was "Fargo." To make one such film is a miracle. Here is another.
    • 90 Metascore
    • 100 Roger Ebert
    Plays like an anthology of the best parts from all the Saturday matinee serials ever made.
    • 90 Metascore
    • 100 Roger Ebert
    After Hours is a brilliant film that is so original, so particular, that we are uncertain from moment to moment exactly how to respond to it. The style of the film creates, in us, the same feeling that the events in the film create in the hero. Interesting.
    • 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.
    • 90 Metascore
    • 100 Roger Ebert
    This film embodies ideas. After the immediate experience begins to fade, the implications remain and grow.
    • 90 Metascore
    • 100 Roger Ebert
    The best performance in the film is by Arestrup as Cesar. You may remember him from Audiard's "The Beat That My Heart Skipped" (2005), where he played a seedy but confident father who psychically overshadows his son.
    • 90 Metascore
    • 100 Roger Ebert
    The movie heroes who affect me most are not extroverted. They don't strut, speechify and lead armies. They have no superpowers. They are ordinary people who are faced with a need and rise to the occasion. Ree Dolly is such a hero.
    • 90 Metascore
    • 100 Roger Ebert
    Seductive and beautiful, cynical and twisted, and one of the best films of the year.
    • 90 Metascore
    • 100 Roger Ebert
    One of the great films of all time. It shames modern Hollywood's timidity. To watch it is to feel yourself lifted up to the heights where the cinema can take you, but so rarely does.
    • 90 Metascore
    • 88 Roger Ebert
    One view of what happened that day, a very effective one. And as an act of filmmaking, it is superb: A sense of immediate and present reality permeates every scene.
    • 90 Metascore
    • 100 Roger Ebert
    The movie makes no attempt to psychoanalyze its Kit Carruthers, and there are no symbols to note or lessons to learn. What comes through more than anything is the enormous loneliness of the lives these two characters lived, together and apart.
    • 90 Metascore
    • 88 Roger Ebert
    Routinely called Tarkovsky's reply to Kubrick's "2001" -- But Kubrick's film is outward, charting man's next step in the universe, while Tarkovsky's is inward, asking about the nature and reality of the human personality.
    • 90 Metascore
    • 100 Roger Ebert
    This is one of the best films of the year, an unflinching lament for the human condition.
    • 90 Metascore
    • 100 Roger Ebert
    This time the dad is the hero of the story, although in most animation it is almost always the mother.
    • 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.
    • 90 Metascore
    • 100 Roger Ebert
    It is one of the year's best films.
    • 90 Metascore
    • 100 Roger Ebert
    Either Being John Malkovich gets nominated for best picture, or the members of the Academy need portals into their brains.
    • 90 Metascore
    • 88 Roger Ebert
    The film has the materials for a lifetime project; like the "7-Up" series, this is a conversation that could be returned to every 10 years or so, as Celine and Jesse grow older.
    • 90 Metascore
    • 88 Roger Ebert
    Grown-ups are likely to be surprised by how smart the movie is, and how sneakily perceptive.
    • 90 Metascore
    • 100 Roger Ebert
    Oh, what a lovely film. I was almost hugging myself while I watched it.
    • 90 Metascore
    • 100 Roger Ebert
    This film is delightful in the way it finds its own way to tell its own story. There was no model to draw on, but Shari Springer Berman and Robert Pulcini, who wrote and directed it, have made a great film by trusting to Pekar's artistic credo.
    • 90 Metascore
    • 100 Roger Ebert
    Allen's writing and directing style is so strong and assured in this film that the actual filmmaking itself becomes a narrative voice.
    • 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.
    • 90 Metascore
    • 100 Roger Ebert
    This is a masterful and heartbreaking film, and it does honor to the memory of the victims.
    • 90 Metascore
    • 100 Roger Ebert
    I enjoyed The Truman Show on its levels of comedy and drama; I liked Truman in the same way I liked Forrest Gump--because he was a good man, honest, and easy to sympathize with.
    • 90 Metascore
    • 88 Roger Ebert
    By the end of Capturing the Friedmans, we have more information, from both inside and outside the family, than we dreamed would be possible. We have many people telling us exactly what happened. And we have no idea of the truth. None.
    • 90 Metascore
    • 88 Roger Ebert
    Intended as a thriller of sorts, although Antonioni is, as always, too deeply involved in the angst of his characters to bother much with the story. (Review of Original Release)
    • 90 Metascore
    • 100 Roger Ebert
    While so many films about coming of age involve manufactured dilemmas, here is one about a woman who indeed does come of age, and magnificently.
    • 89 Metascore
    • 100 Roger Ebert
    I loved this movie. I loved the way Coppola and her actors negotiated the hazards of romance and comedy, taking what little they needed and depending for the rest on the truth of the characters.