RogerEbert.com's Scores

  • Movies
  • TV
For 2,118 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 Paradise: Hope
Lowest review score: 0 Paul Blart: Mall Cop 2
Score distribution:
2118 movie reviews
  1. 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.
  2. 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.
  3. Along with Jarmusch, A Girl Walks Home Alone At Night is steeped in other influences: Spaghetti Westerns, 1950s juvenile delinquent movies, gearhead movies, teenage rom-coms, the Iranian new wave.
  4. Ripstein, who began his long career working with the maestro Luis Buñuel, has his one-time mentor’s post-idealistic anger but doesn’t adopt an insouciantly ironic mode to filter it through; his perspective is determined but never detached.
  5. A daring, studied, mannered true story that is at once remarkably genuine and deeply cinematic at the same time. It’s one of the best films of the year.
  6. A digitally restored version arrives in spectacular fashion with its mixture of bold imagery and biting wit.
  7. Baldwin's voice as a writer comes through powerfully anyway. It was wise to have Jackson read Baldwin's words plainly in his own voice, rather than attempt an impersonation.
  8. My Golden Days exists simultaneously within and outside of its characters' headspace, a testament to Deplechin's powers of imaginative sensitivity.
  9. After Earth is ultimately too thin of a story to support all of its grandiose embellishments, but so what? It's better to try to pack every moment with beauty and feeling than to shrug and smirk. The film takes the characters and their feelings seriously, and lets its actors give strong, simple performances.
  10. Cretton shows as much care and kindness with the minutiae of the daily routine — as he does with the larger issues that plague these lives in flux. He also infuses his story with unexpected humor as the kids hassle each other — and their supervisors — on the road to healing.
  11. Watching Krisha is a revelation: there are expected "rules" for such material (a former addict returns home for a holiday), but then director/writer Trey Edward Shults breaks every rule, making those rules seem tired and arbitrary in the process, and he does so with bravura, confidence, flash.
  12. Like Lee Daniels' hit TV drama “Empire,” Furious 7 is stuffed with situations that require go-for-broke absurdity, but even Daniels and his nighttime soap predecessor Aaron Spelling would pause before attempting the level of “get the f—k outta here!” style shenanigans director James Wan and writer Chris Morgan employ.
  13. There’s an infectious joy to how the actors handle the morbid humor here, and it is never mean-spirited.
  14. Wright is a brilliant director of turbocharged exposition, elegant but bruising action sequences, and graphically bold comedic overkill.
  15. So while Cheatin' does have a narrative spine, it's most entertaining when it's hardest to pin down.
  16. The bloody fingerprints of Quentin Tarantino and the Coen brothers — among other violence-prone auteurs — are smeared all over his tidy and tautly-told Blue Ruin.
  17. It’s delightful and almost miraculous the way this movie manages to work as a comic heist picture on a huge scale, and with a comic science-fiction picture blended into it…while managing to cohere to the whole, you know, Marvel thing.
  18. A modestly scaled character comedy-drama that winds up exerting an almost shockingly strong emotional force by the end.
  19. In the end, Locke is a cinematic stunt that engrosses as it unspools, and pays dividends after it’s been accomplished.
  20. The film avoids hagiography, and in doing so, brings out the undeniable humanity of its subjects.
  21. The directors and the cast, through a miracle of tone, mood, and emotion, have made a film that feels true, that is sweet and sharp and unbearable. Every frame feels right, every choice feels thought-out, considered. All adds up to a heartbreaking whole.
  22. As we enter this season of big, important awards contenders that “matter,” The Skeleton Twins is a small, intimate gem that might truly matter.
  23. Slick and sometimes goofy as it is, Blackhat is an odd, fascinating movie: a high-tech action thriller about the human condition. I can think of no better current illustration of the notion that, to quote this site's founder, it's not what a movie is about, it's how it's about it.
  24. The process of transformation is the story, and the story truly belongs to the artist.
  25. It asks a lot of us. In fact it asks us to set aside everything we've been conditioned to think movies are, and roll with a different way of seeing and hearing things, and connect.
  26. Moana would have been enormously entertaining regardless of when it came out, but its arrival at this particular moment in history gives it an added sense of significance—as well as inspiration.
  27. The best thing about this movie is that you believe in the relationship. Hart and Johnson are a classic comedy duo in the tradition of Abbott & Costello, Bob Hope & Bing Crosby and Gene Wilder & Richard Pryor.
  28. If you can hook into it, Level Five is not just witty, insinuating, and penetrating; it’s also unexpectedly moving and, as deliberately threadbare as it often looks, cinematically rich.
  29. The Homesman doesn't play things safe, and that's a welcome change.
  30. Logan is the rare blockbuster that could be a game-changer. It will certainly change the way we look at other superhero movies and how history judges the entire MCU and DC Universe of films.

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