RogerEbert.com's Scores

  • Movies
  • TV
For 1,224 reviews, this publication has graded:
  • 59% higher than the average critic
  • 2% same as the average critic
  • 39% lower than the average critic
On average, this publication grades 0.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Inside Llewyn Davis
Lowest review score: 0 The Human Centipede III (Final Sequence)
Score distribution:
1,224 movie reviews
  1. An irrepressibly charming B-movie that never over-stays its welcome, and is both conceptually clever and admirably well-executed.
  2. While the results inevitably pale in comparison to "The French Connection" — which could be said about virtually every other film currently in release — they do make for an above-average work that offers viewers a new perspective on a familiar story.
  3. Martin Scorsese's The Wolf of Wall Street is abashed and shameless, exciting and exhausting, disgusting and illuminating; it's one of the most entertaining films ever made about loathsome men.
    • 75 Metascore
    • 88 Critic Score
    The film represents a formidable achievement for Fiennes as both actor and director.
  4. The Imitation Game is most on its game when it primarily sticks to being a John le Carre-lite espionage version of “Revenge of the Nerds.”
    • 61 Metascore
    • 88 Critic Score
    Dhoom: 3 has — by far — the best action set pieces of the series.
  5. I can't imagine anyone who liked the show not enjoying this film, even though the first half is stronger than the second, which spirals into a frenzy of double- and triple-crossing that's less engaging than watching the characters reconnect, awkwardly but with feeling.
  6. I don't think Kimberly Levin's debut feature Runoff entirely works as a story or a statement. But as an experience, it's amazing — so unlike most other recent American independent films in its style and mood.
  7. The movie is straightforward, brisk, engaging, and sometimes even moving. One might entire feeling wary that the movie, in depicting an attempt to duplicate Vermeer's achievement, might also glibly undercut it; but that's not the point at all. Rather, Tim's Vermeer wants to expand the audience's understanding of what the actual practice of art is.
  8. Basically, Cam is one of the most entertainingly inappropriate guardians for impressionable youths since Auntie Mame.
  9. Eden is long, but Hansen-Love's style is so observant and specific that it is always a compelling watch and ends up being sneakily profound.
  10. Life itself, that loaded two-word phrase, is what Roger really wrote about when he wrote about movies.
  11. Wisely, Kornbluth strives to put a human face on the situation, focusing on several families who represent hard-working citizens who are barely making ends meet with their shrinking paychecks—let alone building up any savings.
  12. Interstellar is still an impressive, at times astonishing movie that overwhelmed me to the point where my usual objections to Nolan's work melted away.
  13. Most of its pleasures come from the way it confounds expectations.
  14. This lavish period piece contains enough thrills, spills and moments of cinematic grace that not only manage to push it through the rough spots but allow it to put most American action films of recent vintage to shame.
  15. Nebraska is full of complicated people marked by flaws and failures, mistakes and regrets; they can be selfish bastards, too. It often feels as though Payne is trying to strip away the cliché that the region is populated exclusively by hardworking, decent hearted types.
  16. The Best Man Holiday has the potential to become a staple of Christmastime movie watching in the 'hood.
    • 69 Metascore
    • 88 Critic Score
    Besides being a riveting true-crime story, Shawn Rech and Brandon Kimber’s A Murder in the Park is a film that makes a powerful case that some cherished liberal beliefs aren’t always congruent with the truth; in fact, sometimes they are the exact opposite.
    • 71 Metascore
    • 88 Critic Score
    An earnest and important film. It deserves to be seen by anyone who is interested in documentaries and anyone who is interested in the simple human stories movies too often overlook.
  17. The thematic elements are in place, the emotional tension is highly strung, and the action unfolds in a wave like the fire erupting from the dragon's mouth, overtaking all in its path.
  18. This is the kind of movie that galvanizes and discomfits while it’s on screen, and is terrific fodder for conversation long after its credits roll. Even if you are neither Catholic nor Irish, this Calvary will in no way be a useless sacrifice of your moviegoing time.
  19. The film's flintiness and initially subdued nastiness set it apart from most other action films about the thin line separating cops from crooks.
  20. Harry Dean Stanton: Party Fiction takes a dreamy and philosophical approach, reflecting the personality of the man who is its subject.
  21. It wants to put you smack-dab in the middle of a particular place during a particular time, and let you marinate in that place and time through quiet montages and long—sometimes very long—scenes.
  22. That Guy Dick Miller is the perfect title for Elijah Drenner’s wildly entertaining documentary chronicling the 50-plus years of Miller’s career.
  23. The footage of Bordeaux is awe-inspiring, with aerial shots of the great chateaux and the vineyards. Closeups of the labels from the different chateaux abound, along with luscious shots of glimmering wine being poured. The obsessive nature of the entire industry is reflected in these shots, a good marriage of theme and form.
  24. It's gloriously inventive, wonderfully funny, and gorgeous to look at, the screen filled with sometimes overwhelming detail.
  25. The Brits do this type of crowd-pleaser far better than Hollywood, if only because films like “The Full Monty” and “Billy Elliot” were unafraid to temper sweetness with darker elements of reality.
    • 69 Metascore
    • 88 Critic Score
    Amounts to a valuable if tremendously damning commentary on our current political culture.

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