RogerEbert.com's Scores

  • Movies
  • TV
For 2,078 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 Inside Llewyn Davis
Lowest review score: 0 Nina
Score distribution:
2078 movie reviews
  1. In each of her films, Hansen-Løve has the patience to wait for what Henri Cartier-Bresson called “the decisive moment,” the moment where something "small," something detailed and specific, reveals the universal. Things to Come is full of such moments.
  2. Miles Ahead is a film of ugly, bold bravado.
  3. Orson Welles once described his approach in “Citizen Kane” as “prismatic,” and while there are many differences in subject and style between that cinema milestone and Michael Almereyda’s Experimenter” the two films share a multi-faceted formal playfulness and an essential intellectual seriousness that make them similarly bracing, original and thought-provoking.
  4. Pollard’s choice to end with a stirring a capella number by Son House still provided the uplift needed to fight another day.
  5. The movie is relentless in how it poses questions about our culture’s way of dealing with the power of female sexuality (and it wouldn’t work without Robinson, whose appearance and performance is impeccable for the job) and acknowledges that there’s not only unease in these questions and their answers but also mordant hilarity.
    • 81 Metascore
    • 88 Critic Score
    Disturbing the Peace is a courageous and uplifting film that deservedly earned a rapturous ovation when it screened at Ebertfest this year.
  6. Strategy combats chaos, strategy focuses people on one goal, and with strategy, winning is actually possible. That's what The Dark Horse is all about.
  7. The premise of My Big Night is fine, but the film's execution is what really sells it.
  8. It almost cries out to be a Mike Leigh film starring Jim Broadbent and other members of the director’s stock company.
  9. It’s a rambunctious, often hilarious, and carefully-constructed story about a teenage boy starting to question his sexuality in the midst of his Evangelical Christian world.
  10. While The Overnighters has the feel of an epic, given what an expansive slice of America’s current economic experience it ponders, it’s also a very intimate one.
  11. The Book of Life bedazzles your eyes and buoys your spirits as it treads upon themes most commonly associated with the macabre universe of Tim Burton.
  12. Sin Alas has a lot going on, both plot-wise and stylistically, and it often gets quite theatrical, but the overall effect is that of a pure and beautiful simplicity. There is nothing in the way between the story and its impact.
  13. The sheer filmmaking craft on display here shames almost any comparably budgeted superhero picture you can name.
  14. It is both light as a feather and emotionally resonant. It is defiantly episodic and yet has a cumulative power in its storytelling. It is both airy and emotionally lived-in at the same time.
  15. A documentary that inspires long, gauzy gazes back to the carefree, youthful past of viewers of a certain age.
  16. Call Me Lucky will be an especially grueling ride for those who can identify with Crimmins’ trauma. Yet its toughness does not at all diminish its worth. It remains an essential viewing experience.
    • 73 Metascore
    • 88 Critic Score
    The crime at the heart of The Blue Room eventually becomes clear enough, but the people involved remain mysterious.
  17. The result is a film that is funny and sad, scary and sweet, disturbing and revelatory.
  18. The Edge of Seventeen is a strong successor to Hughes’ legacy with its mix of biting humor and bittersweet heart.
  19. It's fortunate that, like "The Social Network," Dear White People is so charismatic in form and style that we easily forgive its surfeit of priviliged narcissists.
  20. As [Farhadi] does to such masterful effect in “A Separation,” here he constructs a story that keeps revealing new thematic and psychological layers, ones that often come to light through the shifting of perspective from one character to another, a technique that deepens our sympathy for the people we’re watching to the point of our realizing that, as in Renoir, “everyone has their reasons.”
    • 74 Metascore
    • 88 Critic Score
    A film of uncommon restraint and considerable compassion. It presents a seemingly helpless situation and focuses on the tiny, fleeting moments of regret, resentment, reconciliation, hope, loyalty and love within and between these characters.
  21. The Witch, a feminist narrative that focuses on an American colonial family as they undergo what seems to be an otherworldly curse, is more like a sermon.
  22. A wildly ambitious and frequently fascinating film that moviegoers of all ages should find both entertaining and provocative in equal measure.
  23. Our favorite films often drop questions like these into our lives, allowing us to appreciate the world a little differently than before we saw them. The Revenant has this power. It lingers. It hangs in the back of your mind like the best classic parables of man vs. nature. It will stay there for quite some time.
  24. A work of exceptional, undeniable craft, but it’s also a movie that’s meant to stick to you a little bit.
  25. A somber, meditative, almost poetic film that delivers the horrors of bondage stripped down and head-on.
  26. The singing is often splendid. The bits of humor are deftly handled. The pace is relatively swift. And it never feels like a static rendition of a theatrical event dumbed down for a younger demographic.
  27. Some descriptions of The Salesman call it a thriller, suggesting a Hollywood-style suspense film. It’s not. It’s a psychological and moral drama.

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