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

Roger Ebert's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 Lawrence of Arabia (re-release)
Lowest review score: 0 Dirty Love
Score distribution:
4,035 movie reviews
    • 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.
    • 80 Metascore
    • 100 Roger Ebert
    It is a great story of love and hope, told tenderly and without any great striving for effect.
    • 80 Metascore
    • 100 Roger Ebert
    Frank Langella and Michael Sheen do not attempt to mimic their characters, but to embody them.
    • 83 Metascore
    • 100 Roger Ebert
    A documentary with no pretense of objectivity. Here is Mike Tyson's story in his own words, and it is surprisingly persuasive.
    • 62 Metascore
    • 100 Roger Ebert
    Tilda Swinton hasn't often been more fascinating than in Julia, a nerve-wracking thriller with a twisty plot and startling realism.
    • 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?
    • 71 Metascore
    • 100 Roger Ebert
    This is such a rare movie. Its characters are uncompromisingly themselves, flawed, stubborn, vulnerable.
    • 61 Metascore
    • 100 Roger Ebert
    Trucker sets out on a difficult and tricky path, and doesn't put a foot wrong.
    • 55 Metascore
    • 100 Roger Ebert
    An exhilarating visual experience and proves for the third time he's (Zemeck) is one of the few directors who knows what he's doing with 3-D.
    • 77 Metascore
    • 100 Roger Ebert
    Red Riding Trilogy is an immersive experience like "The Best of Youth," "Brideshead Revisited" or "Nicholas Nickleby."
    • 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.
    • 63 Metascore
    • 100 Roger Ebert
    It is a thriller, not a documentary. It's my belief that the nature of the neocon evildoing has by now become pretty clear. Others will disagree. The bottom line is: This is one hell of a thriller.
    • 76 Metascore
    • 100 Roger Ebert
    A compelling thriller to begin with, but it adds the rare quality of having a heroine more fascinating than the story.
    • 55 Metascore
    • 100 Roger Ebert
    Watching Invincible was a singular experience for me, because it reminded me of the fundamental power that the cinema had for us when we were children. The film exercises the power that fable has for the believing.
    • 99 Metascore
    • 100 Roger Ebert
    One of the greatest of all American films, but has never received the attention it deserves because of its lack of the proper trappings. Many "great movies'' are by great directors, but Laughton directed only this one film, which was a critical and commercial failure long overshadowed by his acting career.
    • 80 Metascore
    • 100 Roger Ebert
    By the end of the movie, we have been through an emotional and a sensual wringer, in a film of great wisdom and delight.
    • 77 Metascore
    • 100 Roger Ebert
    Pollock is confident, insightful work--one of the year's best films.
    • 80 Metascore
    • 100 Roger Ebert
    A sports documentary as gripping, in a different way, as "Hoop Dreams."
    • 75 Metascore
    • 100 Roger Ebert
    Here is a movie that knows its women, listens to them, doesn't give them a pass, allows them to be real: It's a rebuke to the shallow "Ya-Ya Sisterhood."
    • 86 Metascore
    • 100 Roger Ebert
    This series should be sealed in a time capsule. It is on my list of the 10 greatest films of all time, and is a noble use of the medium.
    • 73 Metascore
    • 100 Roger Ebert
    Here is the most passionate and tender love story in many years, so touching because it is not about a story, not about stars, not about a plot, not about sex, not about nudity, but about LOVE itself.
    • 81 Metascore
    • 100 Roger Ebert
    Rohmer elegantly seduces us with people who have all of the alarming unpredictability of life.
    • 71 Metascore
    • 100 Roger Ebert
    This is an uncommonly intelligent film, smart and amusing too, and anyone who thinks it is not faithful to Austen doesn't know the author but only her plots.
    • 67 Metascore
    • 100 Roger Ebert
    A remarkable film.
    • 92 Metascore
    • 100 Roger Ebert
    Cocteau, a poet and surrealist, was not making a "children's film" but was adapting a classic French tale that he felt had a special message after the suffering of World War II: Anyone who has an unhappy childhood may grow up to be a Beast.
    • 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.
    • 83 Metascore
    • 100 Roger Ebert
    The story of herself (Varda), a woman whose life has consisted of moving through the world with the tools of her trade, finding what is worth treasuring.
    • 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.
    • 40 Metascore
    • 100 Roger Ebert
    It's one of the best films of the year.
    • 78 Metascore
    • 100 Roger Ebert
    More reverie and meditation than reportage.