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

Roger Ebert's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 Ballast
Lowest review score: 0 The Texas Chainsaw Massacre
Score distribution:
4,078 movie reviews
    • 91 Metascore
    • 100 Roger Ebert
    This was for me the best film at Cannes 2004, a story vibrating with urgency and life. It makes a powerful statement and at the same time contains humor, charm and astonishing visual beauty.
    • 85 Metascore
    • 100 Roger Ebert
    Shines with a kind of inspired madness.
    • 86 Metascore
    • 100 Roger Ebert
    No director since Fassbinder has been able to evoke such complex emotions with such problematic material.
    • 89 Metascore
    • 100 Roger Ebert
    Man on Wire is about the vanquishing of the towers by bravery and joy, not by terrorism.
    • 76 Metascore
    • 100 Roger Ebert
    May be the most intimate documentary ever made about a live rock 'n' roll concert. Certainly it has the best coverage of the performances onstage.
    • 83 Metascore
    • 100 Roger Ebert
    Helena Bonham Carter may be Burton's inamorata, but apart from that, she is perfectly cast, not as a vulgar fishwife type but as a petite beauty with dark, sad eyes and a pouting mouth and a persistent fantasy that she and the barber will someday settle by the seaside. Not bloody likely.
    • 92 Metascore
    • 100 Roger Ebert
    A visionary roller-coaster ride of a movie.
    • 95 Metascore
    • 100 Roger Ebert
    David Fincher's film has the rare quality of being not only as smart as its brilliant hero, but in the same way. It is cocksure, impatient, cold, exciting and instinctively perceptive.
    • 73 Metascore
    • 100 Roger Ebert
    The impersonation of Welles by Christian McKay in Me and Orson Welles is the centerpiece of the film, and from it, all else flows. We can almost accept that this is the Great Man.
    • 79 Metascore
    • 100 Roger Ebert
    Astonishing things happen and symbolism can only work by being apparent. For me, the film is like music or a landscape: It clears a space in my mind, and in that space I can consider questions. (Review of Original Release)
    • 79 Metascore
    • 100 Roger Ebert
    The information they eventually dislodge about Rodriguez suggests a secular saint, a deeply good man, whose music is the expression of a blessed inner being. I hope you're able to see this film. You deserve to. And yes, it exists because we need for it to.
    • 97 Metascore
    • 100 Roger Ebert
    Made with sublime innocence and breathtaking artistry, at a time when its simple values rang true.
    • 85 Metascore
    • 100 Roger Ebert
    There is the sense they're fighting for each other more than for ideology.
    • 81 Metascore
    • 100 Roger Ebert
    The movie has an emotional payoff I failed to anticipate. It expresses hope in human nature. It is one of the year's best films.
    • 72 Metascore
    • 100 Roger Ebert
    A beautiful and haunting film that tells this story, and then tells another subterranean story about the seasons of a marriage.
    • 76 Metascore
    • 100 Roger Ebert
    This is an engrossing story, told smoothly and well, and Russell Crowe's contribution is enormous.
    • 68 Metascore
    • 100 Roger Ebert
    The film is astonishing in its visual beauty; cinematographer Greig Fraser ("Snow White and the Huntsman") finds nobility in this arduous journey.
    • 65 Metascore
    • 100 Roger Ebert
    It is the kind of experience you simply sink into.
    • 90 Metascore
    • 100 Roger Ebert
    One of the great films of all time. It shames modern Hollywood's timidity. To watch it is to feel yourself lifted up to the heights where the cinema can take you, but so rarely does.
    • 55 Metascore
    • 100 Roger Ebert
    Yes
    Alive and daring.
    • 84 Metascore
    • 100 Roger Ebert
    Like "United 93" and the work of the Dardenne brothers, it lives entirely in the moment, seeing what happens as it happens, drawing no conclusions, making no speeches, creating no artificial dramatic conflicts, just showing people living one moment after another, as they must.
    • 88 Metascore
    • 100 Roger Ebert
    One of those movies where "after that summer, nothing would ever be the same again." Yes, but it redefines "nothing."
    • 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.
    • 77 Metascore
    • 100 Roger Ebert
    This movie is the work of a man who knows how to direct a thriller. Smooth, calm, confident, it builds suspense instead of depending on shock and action.
    • 91 Metascore
    • 100 Roger Ebert
    An experience so engrossing it is like being buried in a new environment.
    • 76 Metascore
    • 100 Roger Ebert
    As well-directed a film as you'll see from America this year, an unsentimental and yet completely involving story of a young man who cannot see a way around his fate.
    • 86 Metascore
    • 100 Roger Ebert
    As he is played by Gene Hackman in The Conversation, an expert wiretapper named Harry Caul is one of the most affecting and tragic characters in the movies.
    • 89 Metascore
    • 100 Roger Ebert
    I loved this movie. I loved the way Coppola and her actors negotiated the hazards of romance and comedy, taking what little they needed and depending for the rest on the truth of the characters.
    • 41 Metascore
    • 100 Roger Ebert
    Knowing is among the best science-fiction films I've seen -- frightening, suspenseful, intelligent and, when it needs to be, rather awesome.
    • 88 Metascore
    • 100 Roger Ebert
    A tense, taut and expert thriller that becomes something more than that, an allegory about an innocent man in a world prepared to crush him.

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