For 4,072 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 11.9 points higher than other critics. (0-100 point scale)

Roger Ebert's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 Body Heat
Lowest review score: 0 Slackers
Score distribution:
4,072 movie reviews
    • 90 Metascore
    • 100 Roger Ebert
    It is one of the year's best films.
    • 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.
    • 100 Metascore
    • 100 Roger Ebert
    Bresson suggests that we are all Balthazars. Despite our dreams, hopes and best plans, the world will eventually do with us whatever it does.
    • 86 Metascore
    • 100 Roger Ebert
    Wolfgang Petersen's direction is an exercise in pure craftsmanship. [Director's Cut]
    • 52 Metascore
    • 100 Roger Ebert
    'Return of the Jedi' is fun, magnificent fun. The movie is a complete entertainment, a feast for the eyes and a delight for the fancy. It's a little amazing how Lucas and his associates keep topping themselves.
    • 90 Metascore
    • 100 Roger Ebert
    This film embodies ideas. After the immediate experience begins to fade, the implications remain and grow.
    • 67 Metascore
    • 100 Roger Ebert
    It is not a "dirty movie," and in fact takes spirituality and morality more seriously than most films do. And in the bad lieutenant, Keitel has given us one of the great screen performances in recent years.
    • 86 Metascore
    • 100 Roger Ebert
    One of the best films of the year.
    • 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.
    • 78 Metascore
    • 100 Roger Ebert
    The best of three Star Wars films, and the most thought-provoking. After the space opera cheerfulness of the original film, this one plunges into darkness and even despair, and surrenders more completely to the underlying mystery of the story. It is because of the emotions stirred in Empire that the entire series takes on a mythic quality that resonates back to the first and ahead to the third. This is the heart.
    • 71 Metascore
    • 100 Roger Ebert
    It stands with integrity and breaks our hearts.
    • 70 Metascore
    • 100 Roger Ebert
    LaBute's "Your Friends and Neighbors'' is to "In the Company of Men'' as Quentin Tarantino's "Pulp Fiction'' was to "Reservoir Dogs.'' In both cases, the second film reveals the full scope of the talent, and the director, given greater resources, paints what he earlier sketched.
    • 82 Metascore
    • 100 Roger Ebert
    Like Malick's "Days of Heaven," it is not about plot, but about memory and regret. It remembers a summer that was not a happy summer, but there will never again be a summer so intensely felt, so alive, so valuable.
    • 71 Metascore
    • 100 Roger Ebert
    David Gordon Green's second film, is too subtle and perceptive, and knows too much about human nature, to treat their lack of sexual synchronicity as if it supplies a plot.
    • 86 Metascore
    • 100 Roger Ebert
    Spacey, an actor who embodies intelligence in his eyes and voice, is the right choice for Lester Burnham.
    • 85 Metascore
    • 100 Roger Ebert
    Has the quality of many great films, in that it always seems alive.
    • 86 Metascore
    • 100 Roger Ebert
    There are scenes as true as movies can make them, and even when the story develops thriller elements, they are redeemed, because the movie isn't about what happens, but about why.
    • 83 Metascore
    • 100 Roger Ebert
    Put the two parts together, and Tarantino has made a masterful saga that celebrates the martial arts genre while kidding it, loving it, and transcending it.
    • 76 Metascore
    • 100 Roger Ebert
    A collision at the intersection of farce and tragedy--the apocalypse as a joke on us.
    • 73 Metascore
    • 100 Roger Ebert
    The movie is a satire that contains just enough realistic ballast to be teasingly plausible; like "Dr. Strangelove," it makes you laugh, and then it makes you wonder.
    • 86 Metascore
    • 100 Roger Ebert
    Only a few films are transcendent, and work upon our minds and imaginations like music or prayer or a vast belittling landscape...Alone among science-fiction movies, 2001 is not concerned with thrilling us, but with inspiring our awe.
    • 91 Metascore
    • 100 Roger Ebert
    An experience so engrossing it is like being buried in a new environment.
    • 69 Metascore
    • 100 Roger Ebert
    This is one of the best movies of the year.
    • 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.
    • 64 Metascore
    • 100 Roger Ebert
    In its heedless energy and joy, it reminded me of how I felt the first time I saw "Raiders of the Lost Ark." It's like a film that escaped from the imagination directly onto the screen, without having to pass through reality along the way.
    • 63 Metascore
    • 100 Roger Ebert
    Green takes us to that place where we keep feelings that we treasure, but are a little afraid of.
    • 88 Metascore
    • 100 Roger Ebert
    The acting and the best dialogue passages have an impact that has not dimmed; it is still possible to feel the power of the film and of Brando and Kazan, who changed American movie acting forever.
    • 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.
    • 62 Metascore
    • 100 Roger Ebert
    The film is extraordinarily beautiful. Bertolucci is one of the great painters of the screen.
    • 77 Metascore
    • 100 Roger Ebert
    The kind of film I instinctively respond to. Leave logic at the door. Do not expect subdued taste and restraint, but instead a kind of operatic ecstasy.

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