RogerEbert.com's Scores

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For 2,773 reviews, this publication has graded:
  • 56% higher than the average critic
  • 2% same as the average critic
  • 42% lower than the average critic
On average, this publication grades 0.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Score distribution:
2773 movie reviews
  1. In its righteous outrage, I Am Evidence pulls no punches, and is unafraid to call out the system.
  2. Fellow comedian Dave Attell is his delightfully twisted self as the MC at a Coney Island bikini contest where Renee puts on a wild spectacle compared to the typical skinny girls who populate such events. Again, this isn’t a moment of body shaming. It’s an unbridled display of enthusiasm. We’re laughing with her, not at her. If only the rest of the film had such complete confidence.
  3. Aardvark doesn't know how to do what it wants to do. It's not that the tone is uneven or uncertain, it's that the film doesn't have a tone at all. Because a specific tone isn't established, earnest moments come off as insincere, deep moments seem like they're supposed to be a joke. It's not clear if all of this is by design or an accident from a first-time director.
  4. On the plus side, director Ewing displays a better-than-competent command of cinematic space, so some of the suspense beats produced aren’t entirely ineffective. Here’s hoping she develops better taste in scripts.
  5. Nothing in An Ordinary Man rings true; not the location, nor the performances nor the story.
  6. Much like the way that Stubby was often underestimated before he found his calling, I came into this film not expecting how much I would appreciate a more thoughtful use of animation to tell an engaging story.
  7. Danish documentarian Janus Metz — making his first feature, and working from a script by Ronnie Sandahl — feels the need to hold our hands and oversimplify these two titans of tennis.
  8. The movie itself, overall, feels kind of bloodless. Scenes in which Pearson is called upon to defend his new vision kind of fizzle rather than catch fire.
  9. Imagine a cross between "Annie" and "Jesus Christ Superstar," only with more speed metal. Now imagine a lot of long takes of sometimes merely adequate, sometimes sneakily brilliant performers doing simple dance steps or sing-talking reams of theatrical dialogue (adapted from Charles Peguy's religious mystery play).
  10. A genre movie that's at war with itself.
  11. This is not a particularly fascinating movie, unfortunately, despite being well-done in most of the superficial ways.
  12. When Johnson is doing that movie action star thing he does so well and giant animals are going enormous-mano-a-enormous-mano, there’s undeniably goofy fun to be had. You just have to be patient during the downtime.
  13. Ms. Martel’s attention to period detail is impeccable without being show-offish about it. But Zama is not the kind of period piece that aims for suspension of disbelief.
  14. An account of rodeo riders on a South Dakota reservation, it is so fact-based that it almost qualifies as a documentary. Yet the film’s style, its sense of light and landscape and mood, simultaneously give it the mesmerizing force of the most confident cinematic poetry.
  15. One can’t watch this film and not think of events in the world today. How did the German nation get so caught up in the Nazi mythology that it plunged willingly toward its own destruction? Obviously being seduced away from a clear comprehension of reality into self-regarding mass fantasy was a big part of it.
  16. There are times when Beirut really works like the films that clearly inspired it.
  17. Oh, The Humanity Bureau! How could a low-budget science-fiction thriller starring Nicolas Cage go wrong? Let me count the ways.
  18. Problem is, every time the movie gets near an authentic emotion, it barely pauses before making a run to the next Katy Perry song cue. (Seriously, both “Roar” and “Firework” are featured herein.) Given the care that the adult and teen actors invested in trying to honor their real-life counterparts, this feels lazy. If you like Katy Perry songs that much, you may feel differently.
  19. While the end result may not quite reach the heights that Miyazaki has regularly hit during his amazing career, it is nevertheless a worthy effort, filled with visuals that frequently dazzle the eye even if the story is more likely to inspiring the scratching of heads instead.
  20. This is a movie of visuals first and foremost; it’s no fluke that director Warwick Thornton shared cinematography duties with Dylan River. In addition to capturing stunning images, Thornton has a sleight-of-hand maestro’s joy in shuffling and fanning them. Lightning-fast cuts to flashbacks and flash-forwards keep the viewer on his or her toes in a bracing fashion.
  21. Here, Pfeiffer’s Kyra is our conduit to a world of anxiety and destitution within a seemingly exciting, glamorous city. And she’s absolutely heartbreaking with just the slightest register of sadness in a gesture or facial expression.
  22. Clarke, who has skillfully brought other complex and compromised males to life in “Zero Dark Thirty” and “Mudbound,” is wholly convincing both physically and vocally as the surviving Kennedy brother. One wishes that the movie itself allowed him more performing room than it does.
  23. If you have a good idea, a strong cast, a smart script, and directorial chops, you don't need a lot of money to make a compelling movie. The Endless is proof.
  24. Based on Jonathan Ames' novella of the same name, the film is rooted so firmly in Joe's point of view he sometimes is absent from the screen entirely. We're inside his head.
    • 67 Metascore
    • 63 Critic Score
    The China Hustle is not interested in offering a crumb of hope, thereby enabling the frustration it will inevitably arouse in viewers to dissolve into apathy once the credits roll.
    • 39 Metascore
    • 63 Critic Score
    Birthmarked ultimately falls short of bringing the emotion home.
  25. Finding Your Feet finds its own footing by putting its trust in its sturdy performers and avoiding many of the usual tea-time clichés as it allows its British cast to be defined by their relatable human circumstances more than quaint Anglo quirks.
    • 69 Metascore
    • 75 Critic Score
    But there is much to like, and pay attention to in First Match. It’s a film of small moments.
  26. As a commentary on Reynolds' career trajectory, The Last Movie Star is hit-or-miss. What is undeniable, though, is the space Rifkin has created where Reynolds can do what Reynolds does best, and if you're a fan (as I am) there's much here to treasure.
    • 71 Metascore
    • 75 Critic Score
    Gemini has a breezy lethargy and the characters always look on the brink of sleep. With a cobalt and ultraviolet color scheme and a jazzy score, the movie seems to be cast in the dreariness of Hollywood dreams.

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