For 4,071 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 points higher than other critics. (0-100 point scale)

Roger Ebert's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 The Last Seduction
Lowest review score: 0 Police Academy
Score distribution:
4,071 movie reviews
    • 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.
    • 74 Metascore
    • 100 Roger Ebert
    It is flawlessly crafted, intelligently constructed, strongly acted and spellbinding.
    • 45 Metascore
    • 100 Roger Ebert
    Larry Clark's Bully calls the bluff of movies that pretend to be about murder but are really about entertainment. His film has all the sadness and shabbiness, all the mess and cruelty and thoughtless stupidity of the real thing.
    • 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.
    • 64 Metascore
    • 100 Roger Ebert
    Andrea Yates believed she was possessed by Satan and could save her children by drowning them. Frailty is as chilling.
    • 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.
    • 81 Metascore
    • 100 Roger Ebert
    At a time when digital techniques can show us almost anything, The Blair Witch Project is a reminder that what really scares us is the stuff we can't see.
    • 72 Metascore
    • 100 Roger Ebert
    This movie moves so confidently and looks so good it seems incredible that it's a directorial debut.
    • 81 Metascore
    • 100 Roger Ebert
    It is not a film for most people. It is certainly for adults only. But it shows Todd Solondz as a filmmaker who deserves attention, who hears the unhappiness in the air and seeks its sources.
    • 64 Metascore
    • 100 Roger Ebert
    A red-blooded adventure movie, dripping with atmosphere, filled with the gruesome and the sublime, and surprisingly faithful to the novel.
    • 70 Metascore
    • 100 Roger Ebert
    There have been many good movies about gambling, but never one that so single-mindedly shows the gambler at his task.
    • 86 Metascore
    • 100 Roger Ebert
    The performances are all insidiously powerful.
    • 79 Metascore
    • 100 Roger Ebert
    Causes us to leave the theater quite unreasonably happy.
    • 66 Metascore
    • 100 Roger Ebert
    A great visionary achievement, a film so original and exciting, it stirred my imagination like "Metropolis" and "2001: A Space Odyssey."
    • 71 Metascore
    • 100 Roger Ebert
    In its quiet, dark, claustrophobic way, this is one of the best films of the year.
    • 87 Metascore
    • 100 Roger Ebert
    The kind of movie you can see twice--first for the questions, the second time for the answers.
    • 91 Metascore
    • 100 Roger Ebert
    There is one cool, understated scene after another.
    • 76 Metascore
    • 100 Roger Ebert
    A collision at the intersection of farce and tragedy--the apocalypse as a joke on us.
    • 66 Metascore
    • 100 Roger Ebert
    The film is pitch-perfect in its decor, music, clothes, cars, language and values. It takes place during those heady years between the introduction of the Pill and the specter of AIDS, when men shaped as adolescents by Playboy in the 1950s now found some of their fantasies within reach.
    • 81 Metascore
    • 100 Roger Ebert
    This is a movie to surrender yourself to. If you require logic, see something else. Mulholland Drive works directly on the emotions, like music.
    • 89 Metascore
    • 100 Roger Ebert
    No finer film has ever been made about organized crime - not even "The Godfather."
    • 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
    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.
    • 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.
    • 87 Metascore
    • 100 Roger Ebert
    The fact that David Helfgott lived the outlines of these events--that he triumphed, that he fell, that he came slowly back--adds an enormous weight of meaning to the film.
    • 76 Metascore
    • 100 Roger Ebert
    The movie is as intelligent a thriller as you'll see this year.
    • 82 Metascore
    • 100 Roger Ebert
    Cage and Shue make these cliches into unforgettable people.
    • 80 Metascore
    • 100 Roger Ebert
    This film is such a virtuoso high-wire act, daring so much, achieving it with such grace and skill. Minority Report reminds us why we go to the movies in the first place.
    • 86 Metascore
    • 100 Roger Ebert
    Soderbergh's story, from a screenplay by Stephen Gaghan, cuts between these characters so smoothly that even a fairly complex scenario remains clear and charged with tension.
    • 86 Metascore
    • 100 Roger Ebert
    No director since Fassbinder has been able to evoke such complex emotions with such problematic material.