RogerEbert.com's Scores

  • Movies
  • TV
For 2,128 reviews, this publication has graded:
  • 57% higher than the average critic
  • 2% same as the average critic
  • 41% lower than the average critic
On average, this publication grades 0.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Sunset Song
Lowest review score: 0 Paul Blart: Mall Cop 2
Score distribution:
2128 movie reviews
  1. [Maren Ade] fully embraces the inherent awkwardness of a testy emotional bond and tackles it to the ground, all the while mining it for heartfelt humor without the all-too-common safety net of predictability found in big-budget Hollywood fare.
  2. One of the great director Terence Davies' best films: an example of old school and new school mentalities coming together to create a challenging and unique experience.
  3. The movie deserves to be known, first of all, as a terrific example of intelligent, captivating film craft—further proof of the recent strength of Mexican cinema.
    • 79 Metascore
    • 100 Critic Score
    It’s thrilling for even a novice fan to watch Pearce.
    • 79 Metascore
    • 100 Critic Score
    The thing you'll remember about P'tit Quinquin, over even the most perfectly timed joke or the adorably misshapen head of Quinquin, is the face of Bernard Pruvost, as the detective protecting his flock from the murderer.
  4. The most pleasurable aspect of 20th Century Women (and it's pleasurable throughout) is that it allows itself to be messy.
    • 94 Metascore
    • 100 Critic Score
    Before Midnight is moving because it acknowledges that even love stories that began as beautifully as Jesse and Celine's must still endure the wear and tear of real life.
  5. Everything in The Lego Movie is, indeed, awesome.
  6. A powerful and thoughtful film, it is also not what it at first seems, which is part of the point Polley appears to be interested in making. Can the truth ever actually be known about anything?
  7. Just over the Mexico/U.S. border from Juarez is El Paso, Texas, ranked the safest large city in America three years in a row now. The question that that fact begs is in part why this film is a quietly subversive masterpiece.
  8. Director Wheatley has already shown his aptitude for sardonic horror-commentaries, and Sightseers is his best film to date. Sightseers is dark, gruesome, blithely amoral and thoroughly entertaining.
    • 85 Metascore
    • 100 Critic Score
    In many ways, Fruitvale Station is as green and earnest as "Boyz N the Hood," a debut film made by another alumnus of Coogler's alma mater, USC: John Singleton. Yet its ambition is closer to that of the most important American indie film in at least a decade, Patrick Wang's "In the Family," a must-see that's now available on DVD.
  9. Schamus’ commitment to a style, and to the material, yields potent results.
  10. If I were nine years old, I would see the monsters-versus-robots adventure Pacific Rim 50 times. Because I'm in my forties and have two kids and two jobs, I'll have to be content with seeing it a couple more times in theaters and re-watching it on video.
  11. It's a courageous film that's willing to sit in those moments instead of underlining them or hurrying past them, hoping we get the shorthand. Love is Strange is a patient film. The emotions it unleashes are enormous.
  12. The film builds its case piece by shattering piece, inspiring levels of shock and outrage that stun the viewer, leaving one shaken and disturbed before closing out on a visual note of hope designed to keep us on the hook as advocates for change.
    • 61 Metascore
    • 100 Critic Score
    There’s a chilling resonance to the moment where Gigi reflects on the legacy of German physician Magnus Hirschfeld, and the Nazis that attempted to silence his groundbreaking advocacy for gay and transgender rights.
    • 72 Metascore
    • 100 Critic Score
    One of the greatest science and moral fiction movies ever made.
  13. Like “Kaguya,” it functions as a highly sensitive and empathetic consideration of the situation of women in Japanese society—but it’s also a breathtaking work of art on its own.
  14. Emotionally charged, viscerally exciting and consistently enlightening, Gabe Polsky’s Red Army is a sports documentary like no other.
  15. It is voluptuously beautiful, frankly sexual, occasionally perverse and horrifically violent.
  16. Deserves to become a serious art-house hit in the U.S. thanks to its skill in deftly overcoming the form’s usual deficits, for a result that feels as amazingly cohesive as it is relentlessly clever and entertaining.
  17. A rare and welcome exception to that norm.
  18. Riveting, wrenching and extraordinarily important.
  19. Everything in Life of Riley, Resnais makes plain, is a contrivance. Much of the joy and beauty of the movie comes from letting the levels of contrivance fall into place, as with some Rube Goldberg contraption, creating a parallel abstract narrative to the more conventional semi-farcical one unfolding on screen.
  20. Farhadi’s orchestration of all these elements is complex and viscerally kinetic; few viewers will experience it without holding their breath at some point.
  21. The masterful thing about Denzel Washington’s direction here is that he doesn’t exactly open up the play. Instead, he opens up the visual frame around the players.
  22. With Gett, the Trial of Viviane Amsalem, siblings Ronit and Shlomi Elkabetz prove that they rank with the finest filmmakers alive.
  23. Moonlight is a film that is both lyrical and deeply grounded in its character work, a balancing act that’s breathtaking to behold. It is one of those rare pieces of filmmaking that stays completely focused on its characters while also feeling like it’s dealing with universal themes about identity, sexuality, family, and, most of all, masculinity.
  24. Silence is a monumental work, and a punishing one.

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