RogerEbert.com's Scores

  • Movies
For 919 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 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Gett: The Trial of Viviane Amsalem
Lowest review score: 0 Kick-Ass 2
Score distribution:
919 movie reviews
    • 79 Metascore
    • 100 Critic Score
    It’s thrilling for even a novice fan to watch Pearce.
    • 78 Metascore
    • 100 Critic Score
    The thing you'll remember about P'tit Quinquin, over even the most perfectly timed joke or the adorably misshapen head of Quinquin, is the face of Bernard Pruvost, as the detective protecting his flock from the murderer.
    • 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.
  1. Everything in The Lego Movie is, indeed, awesome.
  2. 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?
  3. Just over the Mexico/U.S. border from Juarez is El Paso, Texas, ranked the safest large city in America three years in a row now. The question that that fact begs is in part why this film is a quietly subversive masterpiece.
  4. Director Wheatley has already shown his aptitude for sardonic horror-commentaries, and Sightseers is his best film to date. Sightseers is dark, gruesome, blithely amoral and thoroughly entertaining.
    • 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.
  5. If I were nine years old, I would see the monsters-versus-robots adventure Pacific Rim 50 times. Because I'm in my forties and have two kids and two jobs, I'll have to be content with seeing it a couple more times in theaters and re-watching it on video.
  6. It's a courageous film that's willing to sit in those moments instead of underlining them or hurrying past them, hoping we get the shorthand. Love is Strange is a patient film. The emotions it unleashes are enormous.
    • 84 Metascore
    • 100 Critic Score
    Emotionally charged, viscerally exciting and consistently enlightening, Gabe Polsky’s Red Army is a sports documentary like no other.
    • 75 Metascore
    • 100 Critic Score
    Deserves to become a serious art-house hit in the U.S. thanks to its skill in deftly overcoming the form’s usual deficits, for a result that feels as amazingly cohesive as it is relentlessly clever and entertaining.
    • 86 Metascore
    • 100 Critic Score
    Riveting, wrenching and extraordinarily important.
  7. Everything in Life of Riley, Resnais makes plain, is a contrivance. Much of the joy and beauty of the movie comes from letting the levels of contrivance fall into place, as with some Rube Goldberg contraption, creating a parallel abstract narrative to the more conventional semi-farcical one unfolding on screen.
  8. With Gett, the Trial of Viviane Amsalem, siblings Ronit and Shlomi Elkabetz prove that they rank with the finest filmmakers alive.
  9. Whiplash is cinematic adrenalin. In an era when so many films feel more refined by focus groups or marketing managers, it is a deeply personal and vibrantly alive drama.
  10. This movie struck me as both Ceylan’s plainest, and perhaps his finest.
  11. Birdman is a complete blast from start to finish.
  12. Gimme the Loot is thrilling, although there aren't any stereotypically "thrilling" sequences. The thrill comes from the compulsively watchable dynamic between the two leads (non-professional actors, both of them), the excellent supporting cast (also non-professionals), and the fun use of multiple locations throughout the bustling metropolis.
    • 88 Metascore
    • 100 Critic Score
    Though superlatives can mischaracterize any movie’s qualities, it is not an overstatement, I think, to call Citizenfour, Laura Poitras’ film about Edward Snowden, the movie of the century (to date).
  13. Watchers of the Sky, an intricate and immensely powerful documentary, directed by Edet Belzberg, is both the story of Raphael Lemkin as well as a harrowing examination of genocide, past, recent, and ongoing.
  14. Known for her superb indie dramas “I Will Follow” and “Middle of Nowhere”, DuVernay has proven herself a master of small, intimate moments. Selma never loses focus on the interpersonal dynamics between King and his followers, his detractors and his family.
    • 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.
    • 82 Metascore
    • 100 Critic Score
    Guiraudie's directorial assurance is stunning: the entire movie is a master class in audiovisual storytelling, as well as an exemplary case of immersing the viewer in an environment.
  15. There is that feeling you get inside when a movie suddenly starts to push your every button, creating an emotional connection that goes beyond pure reason and mere emotion. It elevates your mood to such a point that you wish you could hug the screen out of sheer joy and recognition. That is what Gloria did to me.
  16. Co-directors Allison Berg and Frank Keraudren seem to be operating from a place of nonjudgmental curiosity, so pure and sustained that it becomes indistinguishable from love. They can't get enough of John Wojtowicz.
  17. What an affecting film this is. It respects its characters and doesn't use them for its own shabby purposes. How deeply we care about them.
  18. This is a work just as startling and potent as anything she has done to date — a powerful example of art being used to exorcise personal demons that is anchored by two stunning performances and some of the most gripping moments to be seen in any film so far this year.
  19. Beyond the Lights makes unapologetically damning statements about the music industry’s treatment of women, yet it never feels preachy. It strikes a risky, though successful balancing act between being immensely entertaining as a musical feature and making dramatic, important statements about depression, self-worth and female empowerment.
  20. 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.

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