For 4,338 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 9.5 points higher than other critics. (0-100 point scale)

Roger Ebert's Scores

  • Movies
  • TV
Average review score: 72
Highest review score: 100 Toy Story
Lowest review score: 0 Wolf Creek
Score distribution:
4338 movie reviews
    • 85 Metascore
    • 88 Roger Ebert
    The closing scenes of the movie involve Szpilman's confrontation with a German captain named Wilm Hosenfeld -- Polanski's direction of this scene, his use of pause and nuance, is masterful.
    • 85 Metascore
    • 100 Roger Ebert
    Has the quality of many great films, in that it always seems alive.
    • 85 Metascore
    • 100 Roger Ebert
    Best of all, this movie is inhabited by a real cinematic intelligence. The audience isn't condescended to. In sequences like the one in which Travolta reconstructs a film and sound record of the accident, we're challenged and stimulated: We share the excitement of figuring out how things develop and unfold, when so often the movies only need us as passive witnesses.
    • 85 Metascore
    • 100 Roger Ebert
    The best approach is to begin with the characters, because the wonderful, sad, touching The Edge of Heaven is more about its characters than about its story
    • 85 Metascore
    • 88 Roger Ebert
    Both Linney and Hoffman are so specific in creating these characters that we see them as people, not elements in a plot. Hoffman in particular shows how many disguises he has within his seemingly immutable presence; would you know it is the same actor here and in two other films this season, "Before the Devil Knows You're Dead" and "Charlie Wilson's War"?
    • 85 Metascore
    • 88 Roger Ebert
    What made Shackleton's adventure so immediate to later generations was that he took along a photographer, Frank Hurley, who shot motion picture film and stills.
    • 85 Metascore
    • 88 Roger Ebert
    The widespread speculation that Exit Through the Gift Shop is a hoax only adds to its fascination.
    • 85 Metascore
    • 75 Roger Ebert
    The most ingenious device in the story is the way Chow and Su play-act imaginary scenes between their cheating spouses.
    • 85 Metascore
    • 75 Roger Ebert
    What you remember most are the shots of Baker roaming around Santa Monica, Calif., in what feels like endless late-afternoon sun, or riding at night in the back of a convertible with a woman on each arm.
    • 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.
    • 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.
    • 85 Metascore
    • 100 Roger Ebert
    One of the funniest, most intelligent, most original films.
    • 85 Metascore
    • 100 Roger Ebert
    This happens in 1961, when 16-year-old girls were a great deal less knowing than they are now. Yet the movie isn't shabby or painful, but romantic and wonderfully entertaining.
    • 85 Metascore
    • 75 Roger Ebert
    I enjoyed the film's look and feel, the perfectly modulated performances, and the whole tawdry world of spy and counterspy, which must be among the world's most dispiriting occupations. But I became increasingly aware that I didn't always follow all the allusions and connections. On that level, "Tinker Tailor" didn't work for me.
    • 85 Metascore
    • 88 Roger Ebert
    The film is beautifully well-mounted. The locations, the sets, the costumes, everything conspire to re-create the Rome of that time. It provides a counterpoint to the usual caricature of Mussolini. They say that behind every great man there stands a great woman. In Mussolini's case, his treatment of her was a rehearsal for how he would treat Italy.
    • 85 Metascore
    • 100 Roger Ebert
    Rotates its story through satire, comedy, suspense and violence, until it emerges as one of the best films I've ever seen.
    • 85 Metascore
    • 100 Roger Ebert
    The film reflects a passing era even in its visual style.
    • 85 Metascore
    • 88 Roger Ebert
    About Schmidt is billed as a comedy. It is funny to the degree that Nicholson is funny playing Schmidt, and funny in terms of some of his adventures, but at bottom it is tragic.
    • 85 Metascore
    • 88 Roger Ebert
    A visual poem of extraordinary beauty.
    • 85 Metascore
    • 100 Roger Ebert
    A movie that is not only ingenious and entertaining, but liberating, because we can sense the story isn't going to be twisted into conformity with some stupid formula.
    • 85 Metascore
    • 75 Roger Ebert
    There's some kind of pulse of sincerity beating below the glittering surface, and it may come from Mitchell's own life story.
    • 85 Metascore
    • 100 Roger Ebert
    Shines with a kind of inspired madness.
    • 85 Metascore
    • 100 Roger Ebert
    This is one of the year's best films, a certain best picture nominee.
    • 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.
    • 85 Metascore
    • 88 Roger Ebert
    The point is that for the soldiers, it's a dead zone, life on hold, a cheerless existence. And this plain-spoken old woman reminds them of a lifetime they are missing.
    • 85 Metascore
    • 100 Roger Ebert
    Max is played by Jean Gabin, named "the actor of the century" in a French poll, in Jacques Becker's Touchez Pas au Grisbi, a 1954 French crime film that uncannily points the way toward Jean-Pierre Melville's great "Bob Le Flambeur" the following year.
    • 85 Metascore
    • 88 Roger Ebert
    The first film to build on the enormously influential "Pulp Fiction" instead of simply mimicking it. It has the games with time, the low-life dialogue, the absurd violent situations, but it also has its own texture.
    • 85 Metascore
    • 75 Roger Ebert
    The actors all find the correct notes. It is a French film, and so they are allowed to be adult and intelligent.
    • 85 Metascore
    • 100 Roger Ebert
    There is the sense they're fighting for each other more than for ideology.
    • 85 Metascore
    • 75 Roger Ebert
    Coppola is unable to draw all this together and make it work on the level of simple, absorbing narrative. The stunning text of "The Godfather" is replaced in Part II with prologues, epilogues, footnotes, and good intentions.

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