RogerEbert.com's Scores

  • Movies
For 1,010 reviews, this publication has graded:
  • 60% higher than the average critic
  • 2% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 0.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 La Sapienza
Lowest review score: 0 Kick-Ass 2
Score distribution:
1,010 movie reviews
  1. Beyond the Lights makes unapologetically damning statements about the music industry’s treatment of women, yet it never feels preachy. It strikes a risky, though successful balancing act between being immensely entertaining as a musical feature and making dramatic, important statements about depression, self-worth and female empowerment.
  2. Anderson the illusion-maker is more than graceful, he's dazzling, and with this movie he's created an art-refuge that consoles and commiserates. It's an illusion, but it's not a lie.
  3. Joe
    If your moviegoing needs are driven less by a need to "feel good" afterwards and more by a desire to see something that will grab and touch you in ways that you will not be shaking anytime soon, this is the movie for you.
  4. Watching Kristen Wiig's lived-in and alive performance as this blunt, practical, and yet totally innocent woman is to be in the presence of something very very special.
  5. For all its stunning exteriors, it's really concerned with emotional interiors, and it goes about exploring them with simplicity and directness.
  6. Brian De Palma is one of the great seducers of the cinema, and he proves it with Passion, a spellbinding thriller.
  7. A fantastical examination of man’s inhumanity to man, and as replete as it is with persistent visceral disgust, it also pulses with intelligence, a mordant compassion, and yes, incredible wit.
  8. The New Rijksmuseum is a four hour procession of minute details, an exhaustive catalogue of art world diplomacy and process, but what sticks is the way Hoigendijk weaves all the strands together, crosscutting here, overlapping there.
  9. When Melanie falls under the spell of a silver-haired pedophile as tall and trim as a Marine (Joseph Lorenz), the film gets set on its rocky path to a conclusion that fulfills the film's title and rounds out the "Paradise" series quite beautifully — if you're not afraid to look.
  10. The most satisfyingly diabolical cinematic structure that the Coens have ever contrived, and that's just one reason that I suspect it may be their best movie yet.
  11. I love how Boyhood admits that, in certain ways, growing up stinks. Every character has a least one moment in which they have to heed the advice of Corinthians and put away childish things. None of them like it.
    • 85 Metascore
    • 100 Critic Score
    Another brilliantly mounted drama concerning fracturing families, hidden motives and the difficulties of attaining stability in a rapidly changing world.
  12. This masterpiece about propaganda, cinema and vanity as instruments of power and terror ends on an excruciatingly sustained, righteous money shot: a monster who could have been a good man suffocates on the truth.
  13. The Tale of Princess Kaguya is both very simple and head-spinningly confounding, a thing of endless visual beauty that seems to partake in a kind of pictorial minimalism but finds staggering possibilities for beautiful variation within its ineluctable modality. It’s a true work of art.
    • 83 Metascore
    • 100 Critic Score
    In the end, all that can be relied upon are objects and gestures. The littlest things that tie us to each other. The film often slows to a standstill to show children playing, cars passing, people talking and streets emptied of traffic.
    • 91 Metascore
    • 100 Critic Score
    Ida
    Riveting, original and breathtakingly accomplished on every level, Ida would be a masterpiece in any era, in any country.
    • 72 Metascore
    • 100 Critic Score
    Easily the most astonishing and important movie to emerge from France in quite some time. While its style deserves to be called stunningly original and rapturously beautiful, the film is boldest in its artistic and philosophical implications, which pointedly go against many dominant trends of the last half-century.
    • 69 Metascore
    • 100 Critic Score
    Amour fou, has gone some of the way towards correcting the historical imbalance of interest in the suicide pact. She’s taken liberties with the facts of the case for dramatic effect, but also because two centuries is a long time to go without someone wondering whether Vogel being shot point blank in the chest was entirely consensual.
  14. A thoroughly remarkable and disquieting film from Mali’s Abderrahamane Sissako, Timbuktu is also a work of almost breathtaking visual beauty, but it manages to ravish the heart while dazzling the eye simultaneously, neither at the expense of the other. It’s a work of art that seems realized in an entirely organic way.
  15. Inherent Vice is a film about a stoner which itself seems stoned. This is just one small part of what makes it distinctive.
  16. Like the Maysles brothers, like Shirley Clarke, like D.A. Pennebaker at his heights, Wiseman has created a body of work that proves him a great filmmaker, period. His latest picture, National Gallery, is a typically lucid, graceful and unobtrusively multi-tiered work.
  17. The result will no doubt polarize viewers, as has been the case with his other major works, but it will certainly go down amongst those who see it as one of the most unforgettable films of this or any other year in recent memory.
  18. This 43-year-old filmmaker is a major talent. Though he may not be the second coming of Fellini, his films all have a funny, refreshingly complex perspective, and his latest work is a perfect example of why he is the next big Italian thing.
  19. It is wrenching but never exploitive. It is impressively skeptical of the same mission that it takes on its shoulders: to make something positive from a senseless crime without diminishing its senselessness. This film doesn't just revisit an atrocity, it moves through it, and finds meaning in it.
    • 75 Metascore
    • 100 Critic Score
    It emerges as an artistic statement as multi-faceted, nuanced and hauntingly original as any of its fictional counterparts.
  20. Don't see this movie if you have a weak stomach, or if you don't like movies that mix horror-movie violence and cornball humor. Don't see if it you're expecting production values beyond a couple of vehicles, a farmhouse and about twelve buckets of gore. Don't see this movie if your definition of a great or classic film is one that bowls you over with the importance of its subject or the awesome scope of its vision. Do see if it you want to be be reminded that it's possible to make a relaxed, engrossing, funny, sometimes scary movie on almost no money.
  21. This is a classic film, not just because every scene and line is casually beautiful and devoid of extraneous touches, but because its tone is mercilessly exact.
  22. A brilliant science fiction movie — more of an "experience" than a traditional story, with plenty to say about gender roles, sexism and the power of lust?
  23. True to the spirit of the original film, "Monsters Inc.", and matches its tone. But it never seems content to turn over old ground.
  24. Would the magic hold? The magic holds. It holds from beginning to end.

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