RogerEbert.com's Scores

  • Movies
  • TV
For 1,237 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 0.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Ex Machina
Lowest review score: 0 The Starving Games
Score distribution:
1,237 movie reviews
  1. 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.
  2. If the name "Gilliam" set off a little tremor of excitement when you heard it that is no accident because, with its combination of startling visuals, a head-spinning storyline and oddball characters that don't always conform to their presumed parameters, Snowpiercer is a film definitely in the vein of the works of the great Terry Gilliam, especially his 1985 landmark "Brazil."
  3. Gone Girl is art and entertainment, a thriller and an issue, and an eerily assured audience picture.
  4. Clouds of Sils Maria is oodles more poetic and enigmatic than the term “backstage drama” generally encompasses.
    • 74 Metascore
    • 88 Critic Score
    The best kind of anti-war propaganda film, calm in feeling and mood, yet truly terrifying in showing the scourge of our age: terrorism, which can strike anybody, anywhere, at any time. It's also a love story, and a film about having it all. And then in an instant, losing everything.
  5. The movie offers the most psychologically complex screen portrait of a Native American character in at least twenty years, probably more.
  6. It's a rapturous experience, mostly, though tempered by a certain Godardian crankiness. Watching it is, I would imagine, as close as we'll get to being able to be Godard, sitting there thinking, or dreaming. It's a documentary of a restless mind.
    • 74 Metascore
    • 88 Critic Score
    The real question of culpability that provides an element of suspense here, ironically, concerns not the obvious baddies but the ostensible good guys.
  7. A smart and strong genre work that makes up for a relative lack of gore and viscera with plenty of tension and suspense and a number of impressive performances.
  8. Ernest and Celestine is the coziest movie you'll likely see all year. Every frame is suffused with a fireplace kind of warmth that, for me at least, cast an immediate spell that didn't let up.
  9. The Trials of Muhammad Ali a unique and inspiring viewing experience.
  10. As the heart of the story, however, Sarah Snook delivers a knockout performance that calls on her to perform the kind of tricky scenes that could have resulted in bad laughs throughout if handled incorrectly. Not only does she pull off her performance brilliantly throughout—there is not one moment in which she is anything less that utterly convincing and believable.
    • 72 Metascore
    • 88 Critic Score
    It is an unmistakably “small” film, but as the story builds up and the characters come into focus, you know you are witnessing something rare and precious: an American independent film that’s understated and intelligent, as well as utterly free of showiness and calculation.
  11. In the few moments where he's left to prank people on his own, Bad Grandpa doesn't treat him like the clichéd potty mouthed kid out for shock value. Instead, he uses his childlike innocence to make the adults more uncomfortable than his grandpa's raunchier shenanigans ever could.
  12. One might not think that bouncing back and forth between Jazz Hentoff and First Amendment Hentoff would make for consistently engaging viewing, but the movie is in fact remarkably fluid and never less than compelling.
  13. Faults is a richly-textured movie that concerns the weird space between thinking you know what you're doing, and actually knowing what you're doing.
  14. While some might decry the ludicrous showdown that unfolds in the darkened aisles of McCall’s mega-store workplace, I got a kick out of watching Washington turn everyday hardware supplies into lethal weaponry.
  15. Match has enough meaty and engaging character material to effectively sidestep the very theatrical contrivance of its plot premise, which does have a great deal of potential for reversal and counter reversal and indeed takes full advantage of that potential.
  16. By the time you get to the end, Cronenberg has pinned all his people against the screen like so many laboratory specimens, ripped off their scabs, and vivisected their longings: an old wound here, a long--deferred dream there. Still, the movie sticks with you. It's a fleeting nightmare that refuses to fade.
  17. Does the movie work? Intermittently, sometimes brilliantly.
  18. Overall it is a friendly and affectionate backstage look at the world of the mostly-straight male dancers at La Bare.
  19. It's quite good, for what it is. But it's that "for what it is" part that proves slightly exasperating.
  20. The movie finds its feet, and unrolls as a pretty suspenseful, largely engaging, and hardly ever too-over-the-top spy thriller.
  21. '71
    Last seen in “Starred Up” and Angelina Jolie’s “Unbroken,” O’Connell continues to bring equal measures of toughness and vulnerability to his characters. Despite his good looks, there’s an everyman’s quality to him, which he uses to full effect in ’71.
  22. Run All Night is proof that quality action films don’t really need to reinvent the wheel each time out as long as they make it spin this smoothly.
  23. Much of what makes Now You See Me so entertaining — in a gaudy, disposable, Vegas act sort of way — is its ever-escalating ridiculousness.
  24. A Danish revenge Western starring Mads Mikkelsen, is a very real movie, and it is directed by Kristian Levring (“The King Is Alive”), whose sensibility is a little more nuanced than that of the sensationalist Refn, which is all to this movie’s benefit.
  25. The New Black is an informative, measured, and never-not-engaging documentary about the emergence of LGBT consciousness in African-American communities across the U.S., and particularly communities with a strong church presence.
  26. Mistaken for Strangers was a group effort. And also an act of love.

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