RogerEbert.com's Scores

  • Movies
  • TV
For 1,022 reviews, this publication has graded:
  • 60% higher than the average critic
  • 2% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 0.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Gravity
Lowest review score: 0 But Always
Score distribution:
1,022 movie reviews
  1. The result is a movie that ambles and takes its time, never revealing where it's going.
  2. This is thematically rich material; unfortunately, like a few too many dramas from the past decade, The Hunt resists expressive uses of style, opting instead for gently bobbing handheld camerawork. It's an actor-friendly approach.
    • 61 Metascore
    • 75 Critic Score
    In a summer of antiseptic effects spectacles, Elysium stands out for its grime and intensity, as well as the bluntness of its class allegory.
  3. The Widowmaker, narrated by Gillian Anderson, is a disheartening portrait of blatant greed, as well as a fascinating examination of the trial and error process used in the scientific method.
  4. Our Nixon seems to be more interested in evoking emotional than intellectual responses.
    • 90 Metascore
    • 75 Critic Score
    It's those bigger questions about our nature and our capacity to think beyond self interest that will stick with you.
  5. There are a couple of hallucinatory sequences that don't quite work, and the score by Paul Mills comes swooping in, insistent upon being inspirational in a way that feels like unnecessary underlining.
  6. The Great Invisible is strongest when it focuses on the micro rather than the macro. How the spill impacted individuals in the region is the real story of The Great Invisible.
  7. Ford's voice — always deep, lowered an octave by age and one more by William's longing — is even more powerful. This is Ford's best performance since "The Fugitive," maybe since "Witness."
  8. Throughout the picture, Bernstein interacts with genteel folk who quietly deplore what they see as the American perception of art and art-making.
  9. John Wick breathes exhilarating life into this tired premise, thanks to some dazzling action choreography, stylish visuals and–most importantly–a vintage anti-hero performance from Keanu Reeves.
    • 45 Metascore
    • 75 Critic Score
    Whether it's the wealth of meta-cinematic references to both Shetty's and Khan's other work, or the evolving romance between Khan and Padukone, or the handsomely mounted action, or the occasionally excellent songs, Chennai Express always has something up its sleeve.
  10. Quickly and convincingly, it becomes its own funny and fast-paced phenomenon with its own modern-day charm.
  11. In the current economy, Monopoly makes a more appropriate board game upon which to base a horror movie, but for what it is, Ouija is better than expected.
  12. R100 is, consequently, a comedy that tries to alienate you by suggesting that escapism is futile, all things inevitably devolve, and nothing inherently means anything.
    • 62 Metascore
    • 75 Critic Score
    Documentary films often find their value in taking us to places that are challenging, even painful. Farewell to Hollywood offers the rewarding difficulties of that type of filmmaking, along with additional challenges that stem from questions about its own ethics.
    • 80 Metascore
    • 75 Critic Score
    Al Maysles, a great fixture in the New York film scene and an influence on several generations of documentary filmmakers, was a keen, understanding observer of human nature and behavior from the 1950s up until his death last month at age 88. Iris and another recently completed film, “In Transit,” will stand as testaments to his unique talents and contributions to the documentary form.
  13. A documentary that manages to be jaw-droppingly provocative and genuinely endearing — sometimes at alternating points, and by the end kind of all at once.
  14. Still, you can’t fault a family entertainment extravaganza too much if it actually goes out of its way to integrate the ensemble of a fairy tale in an Old World European setting with a diverse array of supporting players. Branagh deserves an extra bravo just for that. And we mean it sincerely.
  15. The film is high-strung, nervous and slightly chilly in the New York scenes, but once the action shifts to the beaches of Venice, it slows down considerably, and fittingly.
  16. Even though Wetlands is absolutely, brutally unrelenting in its depictions of bodily functions and searching adolescent sexuality, it’s also an inventively sharp, briskly edited, spectacularly-acted post-adolescent coming-of-age story.
  17. A humorous if occasionally horrific pitch-black satire.
  18. Whether his film is lush or rolling in the muck, it always has a tactile quality that makes it accessible, which is also true of the performances from his (mostly) well-chosen cast.
  19. While the wind goes out of its sails a few times along the way, this is a ravishingly photographed, old-fashioned man-against-the-elements adventure epic propelled by human-scaled heroics.
  20. The Heart Machine lies somewhere between the AOL love letter “You’ve Got Mail” and the more cautionary “Her” on the issue of what effect all this technology is having on society.
  21. The movie, starring Zabou Breitman, Jacque Gamblin, Pascal Elbé, Sylvie Testud, and Tony Harrisson, has a more upsetting dimension than most suspense dramas as it’s based on a true story, a story that touches on issues still roiling France today.
  22. Some of the twists the film takes, particularly in its final third, strain the powers of belief, but the ending, thankfully, does not soft-pedal all that came before.
  23. Much of the film's appeal lies in watching the two lead actors enact subtle, honest moments of observed behavior.
  24. There’s a lot of good awkward fun to be had as the viewer simultaneously laughs at Otto’s expense and hopefully commiserates a bit with him.
  25. This is a comedy that encourages viewers to be impulsive, and pointedly seek love and acceptance outside of "normal" social institutions, especially when it comes to family and romance.

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