RogerEbert.com's Scores

  • Movies
  • TV
For 2,070 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 One More Time with Feeling
Lowest review score: 0 Backgammon
Score distribution:
2070 movie reviews
  1. The reason I’m rating this movie higher than I would otherwise, is Christopher Walken. His commitment to making Caleb as thoroughly unlikable as humanly possible yields a character who’s kind of terrifyingly off-putting even when his words and actions are ineffectual. A piece of acting alchemy of which only few are capable. I can’t imagine how powerful it might have been in a better movie.
  2. The November Man wants to be taken seriously, except when it doesn't. This creates viewer whiplash. The movie is confused and often untrustworthy.
  3. The movie is shamelessly manipulative on several levels, and the cast members do their respective bits effectively.
  4. The Intervention is no embarrassment, and any time a woman is allowed to direct a film benefits the cause. But if DuVall’s purpose was to provide a snapshot of her generation, she should have sharpened her focus and dug a little deeper.
  5. Too bad that the makers of The Nut Job eagerly purloined Scrat's primal motivation—food—but failed to note the charm of his minimalist approach.
  6. There’s a lot more nonsense here, all of which starts out intriguingly before overstaying its welcome.
  7. Ride Along really isn't much of a movie, but the quality that makes it mostly watchable, and occasionally enjoyable, is the fact that it seems to know that it isn't much of a movie, and doesn't push against that fact too much.
  8. Imperium proves to be a depressingly familiar (when it isn’t just depressing) thriller and the casting of Radcliffe only contributes further to its failings.
  9. The movie does pretty well as a treatment of identity and selfhood in a social landscape that grows increasingly alienating as it becomes more transparent. But it somehow fails to wholly satisfy.
  10. Molina's story is worth telling. I suspect that, in this form, it will reach some of the at-risk youth who are clearly his target audience. But for myself and most folks expecting a movie, it is too transparent an infomercial for the church to move the mountain.
  11. The fun of the film (and it is often fun) is in the complexities of interconnections, and the sheer number of criminals raging through this tiny area, outnumbering the upstanding citizens by the looks of it.
  12. How badly do you want to see rabid computer-generated zombie-monkeys die violently? Because there's not much else worth recommending in [Rec] 4: Apocalypse.
  13. Plays like an extended tribute to the torture scene in "Reservoir Dogs," a description that alone should tell readers whether they'll find it appealing or not.
  14. Lacking personality or insight, King Jack is a ho-hum tale of young aggression—been there, bruised that.
  15. Big Ass Spider! wants to serve two masters, the ones who unabashedly enjoy this type of movie without shame, and the ones who openly mock it with false senses of superiority.
  16. Brown's story is a good one, though, and solid performances — especially from star Cuba Gooding Jr. — elevate the film slightly above the familiar trappings of its genre.
  17. The latest film to attempt to find the lighter side of bloodsuckers and it even adds a reasonably inspired idea into the mix. Alas, the result is a thoroughly mediocre movie that is never as amusing as it should be.
  18. The only reason it’s not unbearably saccharine is that Paul Rudd, again, grounds a film in something that feels genuine. He’s never an actor that comes across forced, and he does his best to find the truth in Burnett’s overwritten script.
  19. While it does have a few things of interest going for it, this low-budget effort ends up arriving at its necessarily predictable conclusion in too many unnecessarily predictable ways.
  20. The action stuff in The Raid 2, while likely to alienate the squeamish and summon dark thoughts of cinematic nihilism amongst overthinking highbrows, really IS like nothing else out there.
  21. The East prizes an initial air of mystery over consistent drama, and as a result ends up squandering its intriguing premise.
  22. Finally, a woman — Sophie Barthes — has directed and co-written a film version of Madame Bovary, but strangely, that doesn’t result in any more richness or enlightenment.
  23. The ratio of humor and action and parent-child bonding is so formulaic, and the character design and molded-figurine-like animation so typical of the genre in the age of Pixar (and Pixar imitators), that Epic evaporates from the mind within minutes of leaving the theater.
  24. If you DON'T go into this movie knowing it's a sequel, you're gonna have at least 20 minutes of rough sledding ahead of you, because there's no recap from the first movie.
  25. I have to give Morgenthaler credit for what we used to call “moxie” — whatever the hell he’s doing, or thinks he’s doing, he’s fully committed to it, and while he doesn’t really pull off the unhinged apocalyptic fireworks he’s reaching for at the end (and I don’t think any director save Andrzej Zulawski, who’s clearly an influence, could pull them off), I give him credit for trying.
  26. Fast 6 is solid entertainment, but it might have been great if it recognized that a human touch is a rare thing, and when you have it, there's no need to keep clenching it into a fist.
  27. Nothing like a trashy, all-hell-breaks-loose onslaught of blood, bullets and babes that borrows inspiration from a recycling bin stuffed with leftovers from ‘60s grindhouse films, Japanese horror, “Kill Bill,” “Saw” and splatter-fest videogames to cleanse one’s visual palate of those highbrow Oscar contenders.
  28. But Live From New York! is required viewing only if the network’s own 3½-hour marathon salute to four decades of skit hilarity earlier this year was not enough of a retrospective for you.
  29. The movie never builds enough momentum, emotional or narrative, to get the viewer on its side.
  30. I walked away from My Life Directed by Nicolas Winding Refn having enjoyed the time spent with Refn, his family, and Ryan Gosling, but without any further insight into the production of “Only God Forgives,” filmmaking in general or this particular talent.

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