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 11.8 points higher than other critics. (0-100 point scale)

Roger Ebert's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 House of Sand and Fog
Lowest review score: 0 I Spit on Your Grave
Score distribution:
4,073 movie reviews
    • 60 Metascore
    • 100 Roger Ebert
    This is a brave, layered film that challenges the wisdom of victory at any price. Both of its central characters would slip easily into conventional plot formulas, but Bahrani looks deeply into their souls and finds so much more.
    • 68 Metascore
    • 100 Roger Ebert
    As a portrait of a deteriorating state of mind, We Need to Talk About Kevin is a masterful film.
    • 93 Metascore
    • 100 Roger Ebert
    A few great directors have the ability to draw us into their dream world, into their personalities and obsessions and fascinate us with them for a short time. This is the highest level of escapism the movies can provide for us.
    • 65 Metascore
    • 100 Roger Ebert
    Carl Franklin's film is true to the tone and spirit of the book. It is patient and in no hurry. It allows a balanced eye for the people in its hero's family who tug him one way and another.
    • 82 Metascore
    • 100 Roger Ebert
    It is a full-bodied silent film of the sort that might have been made by the greatest directors of the 1920s, if such details as the kinky sadomasochism of this film's evil stepmother could have been slipped past the censors.
    • 54 Metascore
    • 100 Roger Ebert
    The performance by Flora Cross is haunting in its seriousness. She doesn't act out; she acts in.
    • 89 Metascore
    • 100 Roger Ebert
    It is a luxury to be enveloped in a good film.
    • 90 Metascore
    • 100 Roger Ebert
    Seductive and beautiful, cynical and twisted, and one of the best films of the year.
    • 77 Metascore
    • 100 Roger Ebert
    Bernardo Bertolucci's Last Tango in Paris is one of the great emotional experiences of our time.
    • 84 Metascore
    • 100 Roger Ebert
    Julianne Moore, Dennis Quaid and Dennis Haysbert are called on to play characters whose instincts are wholly different from their own. By succeeding, they make their characters real, instead of stereotypes.
    • 69 Metascore
    • 100 Roger Ebert
    Kill Bill: Volume 1 shows Quentin Tarantino so effortlessly and brilliantly in command of his technique that he reminds me of a virtuoso violinist racing through "Flight of the Bumble Bee" -- or maybe an accordion prodigy setting a speed record for "Lady of Spain."
    • 69 Metascore
    • 100 Roger Ebert
    This film is so good it is devastating.
    • 88 Metascore
    • 100 Roger Ebert
    Once is the kind of film I've been pestered about ever since I started reviewing again. People couldn't quite describe it, but they said I had to see it. I had to. Well, I did. They were right.
    • 55 Metascore
    • 100 Roger Ebert
    Rendition is valuable and rare. As I wrote from Toronto: "It is a movie about the theory and practice of two things: torture and personal responsibility. And it is wise about what is right, and what is wrong."
    • 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.
    • 70 Metascore
    • 100 Roger Ebert
    Harrelson is an ideal actor for the role. Especially in tensely wound-up movies like this, he implies that he's looking at everything and then watching himself looking.
    • 56 Metascore
    • 100 Roger Ebert
    It's a compelling visceral film -- sound, images and characters combined into a decidedly odd visual experience that evokes the feel of a graphic novel. It seems charged from within by its power as a fable; we sense it’s not interested in a plot so much as with the dilemma of functioning in a world losing hope.
    • 84 Metascore
    • 100 Roger Ebert
    Sean Penn never tries to show Harvey Milk as a hero, and never needs to. He shows him as an ordinary man, kind, funny, flawed, shrewd, idealistic, yearning for a better world.
    • 59 Metascore
    • 100 Roger Ebert
    The work of a born filmmaker, able to summon apprehension out of thin air.
    • 80 Metascore
    • 100 Roger Ebert
    The movie is a great American document, but it's also entertaining. (Review of Original Release)
    • 90 Metascore
    • 100 Roger Ebert
    It is one of the year's best films.
    • 70 Metascore
    • 100 Roger Ebert
    It's a superb film -- funny, insightful and very wise about the realities of political life.
    • 93 Metascore
    • 100 Roger Ebert
    It is a surprisingly entertaining film - funny, wicked, sharp-tongued and devious. It does not solve the case, nor intend to. I am afraid it only intends to entertain.
    • 86 Metascore
    • 100 Roger Ebert
    One of the best films of the year.
    • 53 Metascore
    • 100 Roger Ebert
    The peculiar quality of Vanity Fair, which sets it aside from the Austen adaptations such as "Sense and Sensibility" and "Pride and Prejudice," is that it's not about very nice people. That makes them much more interesting.
    • 93 Metascore
    • 100 Roger Ebert
    A brilliant nightmare and like all nightmares it doesn't tell us half of what we want to know. (Review of Original Release)
    • 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.
    • 82 Metascore
    • 100 Roger Ebert
    A friend asked: "Wouldn't you love to attend a wedding like that?" In a way, I felt I had. Yes, I began to feel absorbed in the experience. A few movies can do that, can slip you out of your mind and into theirs.
    • 66 Metascore
    • 100 Roger Ebert
    As Soderbergh lovingly peels away veil after veil of deception, the film develops into an unexpected human comedy. Not that any of the characters are laughing.
    • 86 Metascore
    • 100 Roger Ebert
    Superman is a pure delight, a wondrous combination of all the old-fashioned things we never really get tired of: adventure and romance, heroes and villains, earthshaking special effects, and -- you know what else? Wit.

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