RogerEbert.com's Scores

  • Movies
For 575 reviews, this publication has graded:
  • 58% higher than the average critic
  • 1% same as the average critic
  • 41% lower than the average critic
On average, this publication grades 1.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Much Ado About Nothing
Lowest review score: 0 Kick-Ass 2
Score distribution:
575 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.
    • 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.
  4. 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.
  5. 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.
  6. 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?
  7. 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.
    • 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.
  8. David O. Russell out-Scorseses Martin Scorsese with American Hustle, a '70s crime romp that's ridiculously entertaining in all the best ways.
  9. 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.
    • 89 Metascore
    • 100 Critic Score
    Ida
    Riveting, original and breathtakingly accomplished on every level, Ida would be a masterpiece in any era, in any country.
  10. While there have been plenty of movie romances not unlike this, there's never been one told in such an ambitiously immersive way.
  11. Anderson the illusion-maker is more than graceful, he's dazzling, and with this movie he's created an art-refuge that consoles and commiserates. It's an illusion, but it's not a lie.
  12. As an examination of memory and experience and how they shape us, The Missing Picture is meaningful beyond its specific subject matter.
    • 87 Metascore
    • 100 Critic Score
    Here is a formidable opus whose real spiritual relative is Tennyson's "Ulysses". Yes. All is Lost is that good.
    • 87 Metascore
    • 50 Critic Score
    The film’s winsome, self-satisfied comedy will no doubt appeal more to viewers who prize juvenile hi-jinks over the cultural moment it depicts.
  13. Life itself, that loaded two-word phrase, is what Roger really wrote about when he wrote about movies.
  14. Nebraska is full of complicated people marked by flaws and failures, mistakes and regrets; they can be selfish bastards, too. It often feels as though Payne is trying to strip away the cliché that the region is populated exclusively by hardworking, decent hearted types.
  15. Like its hero, Stand Clear of the Closing Doors goes with the flow and has a chaotic and thrilling time but doesn't know where to go or what to do with itself.
  16. This 43-year-old filmmaker is a major talent. Though he may not be the second coming of Fellini, his films all have a funny, refreshingly complex perspective, and his latest work is a perfect example of why he is the next big Italian thing.
  17. The film's flintiness and initially subdued nastiness set it apart from most other action films about the thin line separating cops from crooks.
  18. 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.
    • 85 Metascore
    • 100 Critic Score
    Another brilliantly mounted drama concerning fracturing families, hidden motives and the difficulties of attaining stability in a rapidly changing world.
    • 85 Metascore
    • 100 Critic Score
    In many ways, Fruitvale Station is as green and earnest as "Boyz N the Hood," a debut film made by another alumnus of Coogler's alma mater, USC: John Singleton. Yet its ambition is closer to that of the most important American indie film in at least a decade, Patrick Wang's "In the Family," a must-see that's now available on DVD.
    • 84 Metascore
    • 88 Critic Score
    Easily the most daring and politically provocative film yet to emerge from Iran.
    • 84 Metascore
    • 75 Critic Score
    The result shows the human stakes and often punishing difficulties of challenging entrenched powers and interests.
  19. If Dallas Buyers Club falls somewhat short in the categories of historical chronicle, emotional wallop, and information delivery, its conscientious attempts to portray a group of people in trouble in a troubled time delivers mini-epiphanies in a series of small doses. And that isn't nothing.
    • 84 Metascore
    • 88 Critic Score
    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."
    • 83 Metascore
    • 100 Critic Score
    In the end, all that can be relied upon are objects and gestures. The littlest things that tie us to each other. The film often slows to a standstill to show children playing, cars passing, people talking and streets emptied of traffic.

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