For 4,078 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 11.7 points higher than other critics. (0-100 point scale)

Roger Ebert's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 The Informant!
Lowest review score: 0 I Spit on Your Grave
Score distribution:
4,078 movie reviews
    • 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.
    • 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.
    • 79 Metascore
    • 100 Roger Ebert
    Breathtaking and terrifying, urgently involved with its characters, it announces a new director of great gifts and passions: Fernando Meirelles.
    • 85 Metascore
    • 100 Roger Ebert
    Each character in this movie is given the dramatic opportunity to look inside himself, to question his own motives as well as the motives of others, and to try to improve his own ways of dealing with a troubled situation. Two of the characters do learn how to adjust; the third doesn't. It's not often we get characters who face those kinds of challenges on the screen, nor directors who seek them out. Ordinary People is an intelligent, perceptive, and deeply moving film.
    • 84 Metascore
    • 100 Roger Ebert
    There are many documentaries angry about the human destruction of the planetary peace. This is one of the very best -- a certain Oscar nominee.
    • 63 Metascore
    • 100 Roger Ebert
    Arthur Penn's Little Big Man is an endlessly entertaining attempt to spin an epic in the form of a yarn.
    • 83 Metascore
    • 100 Roger Ebert
    It is a mystery, this business of life. I can't think of any under cinematic undertaking that allows us to realize that more deeply.
    • 69 Metascore
    • 100 Roger Ebert
    A big, bold, audacious war movie that will annoy some, startle others and demonstrate once again that he’s (Tarantino) the real thing, a director of quixotic delights.
    • 64 Metascore
    • 100 Roger Ebert
    In a time when our cities are wounded, movies like Grand Canyon can help to heal.
    • 69 Metascore
    • 100 Roger Ebert
    This is a remarkable film about a strange and prophetic man. What does it tell us? Did living a virtual life destroy him?
    • 66 Metascore
    • 100 Roger Ebert
    If "Henry V," the first film [Branaugh] directed and starred in, caused people to compare him to Olivier, "Dead Again" will inspire comparisons to Welles and Hitchcock - and the Olivier of Hitchcock's "Rebecca."
    • 82 Metascore
    • 100 Roger Ebert
    What a courageous first feature this is, a film that sidesteps shopworn stereotypes and tells a quiet, firm, deeply humanist story about doing the right thing. It is a film that avoids any message or statement and simply shows us, with infinite sympathy, how the life of a completely original character can help us lead our own.
    • 84 Metascore
    • 100 Roger Ebert
    The interesting thing is that Hiller has saved the movie without substantially changing anything in the book.
    • 86 Metascore
    • 100 Roger Ebert
    Sometime miraculous films come into being, made by people you've never heard of, starring unknown faces, blindsiding you with creative genius. Beasts of the Southern Wild is one of the year's best films.
    • 79 Metascore
    • 100 Roger Ebert
    Love proves she is not a rock star pretending to act, but a true actress, and Harrelson matches her with his portrait of a man who has one thing on his mind, and never changes it.
    • 86 Metascore
    • 100 Roger Ebert
    [Nicholson's] performance is key in keeping Chinatown from becoming just a genre crime picture--that, and a Robert Towne screenplay that evokes an older Los Angeles, a small city in a large desert.
    • 79 Metascore
    • 100 Roger Ebert
    One of the most effective thrillers ever made.
    • 67 Metascore
    • 100 Roger Ebert
    Watching The American President, I felt respect for the craft that went into it: the flawless re-creation of the physical world of the White House, the smart and accurate dialogue, the manipulation of the love story to tug our heartstrings.
    • 82 Metascore
    • 100 Roger Ebert
    What an affecting film this is. It respects its characters and doesn't use them for its own shabby purposes. How deeply we care about them.
    • 82 Metascore
    • 100 Roger Ebert
    Some kind of weird masterpiece...one of the best movies of the year.
    • 79 Metascore
    • 100 Roger Ebert
    What the film is really about is people who see themselves and their values as an organic whole. There are no pious displays here. No sanctimony, no preaching. Never even the word "religion." Just Johan, Esther and Marianne, all doing their best.
    • 73 Metascore
    • 100 Roger Ebert
    One of those entertainments where you laugh a lot along the way, and then you end up on the edge of your seat at the end.
    • 75 Metascore
    • 100 Roger Ebert
    A wild elaboration. If you have never seen a Japanese anime, start here. If you love them, Metropolis proves you are right.
    • 83 Metascore
    • 100 Roger Ebert
    I have seen love scenes in which naked bodies thrash in sweaty passion, but I have rarely seen them more passionate than in this movie, where everyone is wrapped in layers of Victorian repression.
    • 80 Metascore
    • 100 Roger Ebert
    This film ennobles filmmaking.
    • 55 Metascore
    • 100 Roger Ebert
    It fascinates in the moment. It's getting from one moment to the next that is tricky. Surely this is one of the most ambitious films ever made.
    • 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.
    • 57 Metascore
    • 100 Roger Ebert
    This is the kind of movie Frank Capra might have directed, and James Stewart might have starred in - a movie about dreams.
    • 81 Metascore
    • 100 Roger Ebert
    A magnificent entertainment. It is like the flowering of all the possibilities in the original classic film.
    • 97 Metascore
    • 100 Roger Ebert
    Starting with Le Petit Soldat, Godard was forging his own individualistic art and becoming the most relevant director of our time.

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