RogerEbert.com's Scores

  • Movies
  • TV
For 1,466 reviews, this publication has graded:
  • 58% higher than the average critic
  • 2% same as the average critic
  • 40% 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 Dumbbells
Score distribution:
1466 movie reviews
  1. I love how Boyhood admits that, in certain ways, growing up stinks. Every character has a least one moment in which they have to heed the advice of Corinthians and put away childish things. None of them like it.
  2. A somber, meditative, almost poetic film that delivers the horrors of bondage stripped down and head-on.
  3. For all its stunning exteriors, it's really concerned with emotional interiors, and it goes about exploring them with simplicity and directness.
  4. Carol is often about its surfaces, their beauty contrasting with the scary duality of people, relationships. The surfaces in Carol are so seductive that one understands the ache to belong in that world.
    • 94 Metascore
    • 100 Critic Score
    Before Midnight is moving because it acknowledges that even love stories that began as beautifully as Jesse and Celine's must still endure the wear and tear of real life.
  5. If you prefer acting prowess over “Star Wars,” you won’t do better at year’s end than observing Rampling (she of the withering stare) and Courtenay (he of the soulful gaze), two stalwarts of that wonderful wave of British talent that hit our shores in the ‘60s, as they perform a finely calibrated pas de deux.
  6. Filmmaker Mike Leigh's biography of the landscape painter J.M.W. Turner is what critics call "austere" — which means it's slow and grim and deliberately hard to love — yet it's fascinating, and the performances and photography are outstanding.
  7. Like “Kaguya,” it functions as a highly sensitive and empathetic consideration of the situation of women in Japanese society—but it’s also a breathtaking work of art on its own.
  8. The best parts of it feel truly new, even as they channel previous animated classics (including the works of Hayao Miyazaki) and explore situations and feelings that everyone has experienced to some degree.
  9. A great newspaper movie of the old-school model, calling up not only obvious comparisons with "All the President's Men" and "Zodiac," two movies with similar devotion to the sometimes crushingly boring gumshoe part of reportage, but also Cary Grant and Rosalind Russell shouting into adjacent phones in "His Girl Friday."
  10. The most satisfyingly diabolical cinematic structure that the Coens have ever contrived, and that's just one reason that I suspect it may be their best movie yet.
  11. A thoroughly remarkable and disquieting film from Mali’s Abderrahamane Sissako, Timbuktu is also a work of almost breathtaking visual beauty, but it manages to ravish the heart while dazzling the eye simultaneously, neither at the expense of the other. It’s a work of art that seems realized in an entirely organic way.
  12. Ultimately Leviathan may divide viewers between those who find its possible meanings too numerous and inchoate and others who welcome the challenges of helping create its meaning.
  13. Post-Holocaust discourse frequently used the phrase “Never Again” as a slogan, specifically referring to persecution of the Jews but also denoting a prohibition against barbarism; the events under consideration in these films are dispiriting reminders that human progress in this area has been meager at best.
  14. Looking at the picture’s mostly sun-drenched and drolly cheerful surface layer, one marvels at Rohmer’s unerring sense of what drama kings and queens young people can be.
  15. A powerful and thoughtful film, it is also not what it at first seems, which is part of the point Polley appears to be interested in making. Can the truth ever actually be known about anything?
  16. Panahi’s latest act of defiance is entirely commendable on a number of levels, but I regret to say that from my own perspective, Taxi is the weakest of the films he’s made since he was enjoined from making them.
  17. Ida
    Riveting, original and breathtakingly accomplished on every level, Ida would be a masterpiece in any era, in any country.
  18. With Gett, the Trial of Viviane Amsalem, siblings Ronit and Shlomi Elkabetz prove that they rank with the finest filmmakers alive.
  19. Her
    Her remains one of the most engaging and genuinely provocative movies you're likely to see this year, and definitely a challenging but not inapt date movie.
  20. A fantastical examination of man’s inhumanity to man, and as replete as it is with persistent visceral disgust, it also pulses with intelligence, a mordant compassion, and yes, incredible wit.
    • 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.
  21. David O. Russell out-Scorseses Martin Scorsese with American Hustle, a '70s crime romp that's ridiculously entertaining in all the best ways.
  22. This masterpiece about propaganda, cinema and vanity as instruments of power and terror ends on an excruciatingly sustained, righteous money shot: a monster who could have been a good man suffocates on the truth.
  23. 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.
  24. The Tale of Princess Kaguya is both very simple and head-spinningly confounding, a thing of endless visual beauty that seems to partake in a kind of pictorial minimalism but finds staggering possibilities for beautiful variation within its ineluctable modality. It’s a true work of art.
  25. Röhrig has the tricky task of carrying this story on his shoulders—and us along with him—without the benefit of being able to emote or even say much. It’s a physical performance as much as it is a quietly emotional one; he has to establish who this man is mainly through his gestures, demeanor and energy.
  26. Cotillard can be an exquisitely subtle actress, with expressive eyes and a face that are made for quiet suffering. Even when Two Days, One Night drags a bit, Cotillard’s performance remains compelling.
  27. Like the Maysles brothers, like Shirley Clarke, like D.A. Pennebaker at his heights, Wiseman has created a body of work that proves him a great filmmaker, period. His latest picture, National Gallery, is a typically lucid, graceful and unobtrusively multi-tiered work.
  28. From its very first scenes, Fury Road vibrates with the energy of a veteran filmmaker working at the top of his game, pushing us forward without the cheap special effects or paper-thin characters that have so often defined the modern summer blockbuster.

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