RogerEbert.com's Scores

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For 2,676 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 1 point lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 13th
Lowest review score: 0 But Always
Score distribution:
2676 movie reviews
  1. Alexander Payne's Downsizing starts with an intriguing "What if?...", the launch-pad of all good sci-fi stories, and very quickly devolves into a bland story about a nondescript khaki-wearing guy who learns to care about the less-fortunate.
  2. The best thing I can say about it is that it’s not another retread of its predecessor.
  3. This is a likable, funny diversion, and sometimes more than that.
  4. The Greatest Showman, directed with verve and panache by Michael Gracey, is an unabashed piece of pure entertainment, punctuated by 11 memorable songs composed by Oscar- and Tony-winning duo Benj Pasek and Justin Paul.
  5. The movie is, of course, beautifully made. Anderson’s visual style is remarkable. Shooting the picture himself, reportedly, with the collaboration of lighting cameraman Michael Bauman, he frames in a Kubrick-inflected style but cuts with a Hitchcock-influenced one.
  6. There’s more than enough to like here, including a great ensemble, the best performance from a living legend in years, and, again, a message that feels depressingly timely.
  7. This big, splashy blockbuster is perplexing because it's full of loosely-connected incidents that are rarely character-driven, or even narratively intelligible beyond a point.
  8. “A good movie is never too long, and a bad movie can never be too short.” That famous quote from Roger Ebert helps me explain why the Canadian indie comedy Sundowners, though it runs only 97 minutes, felt to me like it lasted 14 hours. Longer than “Lawrence of Arabia.” Longer than “Shoah.”
  9. The film has a good comedic rhythm, and there's a rambunctious bickering energy in every scene. It's often quite funny. But Permanent feels like a short film stretched to feature length. It never quite rises above the level of its premise.
  10. Tone is a revealing element for this project, which it borrows from the B-movie, apocalyptic seriousness of a later “Transformers” sequel. One of the movie’s biggest surprises is then that it has outtakes, which even include poking fun at how easily the intimidating alien’s costume head can fall off.
  11. The filmmakers over-extend themselves to solicit empathy for their doomed protagonists. Youth is so unbearably nice that I eventually wished it were remade by misanthropes.
  12. The movie is grisly and its sense of humor is mordant, but it winds up communicating a heartbreak that’s pretty straightforward, all things considered.
  13. Just like the titular vehicle, the movie sputters along toward its intended (and entirely predictable) destination. Even having tremendous actors like Sutherland and Mirren in the front seat can’t enliven this vacation.
  14. Pullman is always great to watch, the Montana landscapes are gorgeously captured by cinematographer David McFarland, and there are a couple of action set pieces that spark.
  15. What is truly amazing about this film is how thoughtfully Ferdinand questions male gender expectations.
  16. Writer/director Rian Johnson’s Star Wars: The Last Jedi is a sprawling, incident- and character-packed extravaganza that picks up at the end of “Star Wars: Episode VII - The Force Awakens” and guides the series into unfamiliar territory. It’s everything a fan could want from a “Star Wars” film and then some.
  17. My most basic litmus test for whether a comedy is working is whether it makes me laugh. I groaned, maybe, but no chuckles emanated from me or from my lone fellow patron.
  18. Feeling like a director’s cut that would play best for people who already know her, Big Sonia is a feature that could have very likely made a deeper impact with the succinctness of a short film.
  19. All of the personages in this slight movie are relatively one-note. It’s a shame that actors as searching and scrupulous as Strathairn and Keener are so ill-used.
  20. This is part of the movie’s problem. Aside from it being another how-I-made-out-in-an-“exotic”-locale narrative. The film means for us to delight in Jay’s flouting of conventions.
  21. It is a formally gorgeous piece of work, the kind of film that exudes confidence in structure and tone, and it contains some of the most striking, memorable imagery of the year. Don’t miss this one.
  22. Only 90 minutes long, the film feels intimate and yet at the same time vast. It has a relaxed pace, but an intensity of focus.
  23. This is all fascinating stuff. But you pretty quickly get the sense that Buirski either doesn't find it interesting enough to let it stand on its own or else is afraid audiences will rebel against too many bare-bones elements.
  24. Many of the year’s best films feature female protagonists who are resolved to live on their own terms, and My Happy Family ranks right alongside them.
  25. All of which makes I, Tonya such a wonder. Not only will it make you think about Tonya Harding again, it will make you do so with unexpected sympathy.
  26. The director called this “mayhem porn,” a designation and ideology fitting for the latest from indie director Mickey Keating, Psychopaths. This is an active, obnoxious test of an audience’s appetite for blood and how long they can go without novel ideas like purpose or plot.
  27. You may think that you, the viewer, have it bad by the sixty minute mark, at which point you probably won't care who is inevitably going to backstab who. But just think of the poor subtitle translator who had to agonize over dialogue so leaden that it took the joy out of a word that's as joyfully outdated as "swindler."
  28. The Dancer clearly needed a better task master behind the camera. There are too many scenes of Fuller physically and mentally suffering for her art as she questions if what she does actually qualifies as dance.
  29. Amateurish horror-comedy.
  30. Throughout the film, you can see Hawke trying to bring resonance and truth to a movie that is plotted like a “Crank” sequel and has dialogue that sounds like it was written by a teenage boy. Watching the actor fight against the deep flaws of the film he’s in is almost more interesting than the plot itself. At least it’s more entertaining.

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