For 4,724 reviews, this critic has graded:
  • 74% higher than the average critic
  • 2% same as the average critic
  • 24% lower than the average critic
On average, this critic grades 8.5 points higher than other critics. (0-100 point scale)

Roger Ebert's Scores

  • Movies
  • TV
Average review score: 72
Highest review score: 100 Pale Rider
Lowest review score: 0 September Dawn
Score distribution:
4724 movie reviews
    • 55 Metascore
    • 50 Roger Ebert
    It's sweet when it should be raunchy, or vice versa, and the result is a movie that seems uneasy with itself.
    • 51 Metascore
    • 50 Roger Ebert
    The movie is mostly about our nasty heroes being attacked by terrifying antagonists in incomprehensible muddles of lightning-fast special effects. It lacks the quiet suspense of the first “Predator,” and please don't even mention the “Alien vs. Predator” pictures, which lacked the subtlety of “Mothra vs. Godzilla.”
    • 43 Metascore
    • 50 Roger Ebert
    The word preposterous is too moderate to describe Eagle Eye. This film contains not a single plausible moment after the opening sequence, and that's borderline. It's not an assault on intelligence. It's an assault on consciousness.
    • 56 Metascore
    • 50 Roger Ebert
    The movie sidesteps the existence of the Greek gods, turns its heroes into action movie cliches and demonstrates that we're getting tired of computer-generated armies.
    • 33 Metascore
    • 50 Roger Ebert
    There are forces here you couldn't possibly comprehend...You can say that again.
    • 39 Metascore
    • 50 Roger Ebert
    The climactic events are shameless, contrived, and wildly out of tune with the rest of the story. To saddle Costner, Penn and Newman with such goofy melodrama is like hiring Fred Astaire and strapping a tractor on his back.
    • 49 Metascore
    • 50 Roger Ebert
    The movie's strategic error is to set the deadline too far in the future. There is something annoying about a comedy where a guy is strapped to a bomb and nevertheless has time to spare for off-topic shouting matches with his best buddy. A buddy comedy loses some of its charm in a situation like that.
    • 71 Metascore
    • 50 Roger Ebert
    Slight and sometimes wearisome.
    • 58 Metascore
    • 50 Roger Ebert
    The skill of the actors, who invest their characters with small touches of humanity, is useful in distracting us from the emotional manipulations, but it's like they're brightening separate rooms of a haunted house.
    • 36 Metascore
    • 50 Roger Ebert
    Lots of sight gags and one-liners are attempted, but few of them succeed. The cast is talented but stranded in weak material.
    • 44 Metascore
    • 50 Roger Ebert
    K-9
    If the crime elements in K-9 are routine, the relationship between Belushi and the dog at least has the courage to be goofy.
    • 59 Metascore
    • 50 Roger Ebert
    Each scene works within itself on its own terms. But there is no whole here. I've rarely seen a narrative film that seemed so reluctant to flow. Nor perhaps one with a more accurate title.
    • 49 Metascore
    • 50 Roger Ebert
    As preposterous as the plot was, there was never a line of Hackman dialogue that didn't sound as if he believed it. The same can't be said, alas, for Sharon Stone, who apparently believed that if she played her character as silent, still, impassive and mysterious, we would find that interesting. More swagger might have helped.
    • 38 Metascore
    • 50 Roger Ebert
    Give Shadyac credit: He sells his Pasadena mansion, starts teaching college and moves into a mobile home (in Malibu, it's true). Now he offers us this hopeful if somewhat undigested cut of his findings, in a film as watchable as a really good TV commercial, and just as deep.
    • 51 Metascore
    • 50 Roger Ebert
    There is a curious problem with Birthday Girl, hard to put your finger on: The movie is kind of sour. It wants to be funny and a little nasty, it wants to surprise us and then console us, but what it mostly does is make us restless.
    • 46 Metascore
    • 50 Roger Ebert
    The movie is unconvincing. At the end, Jim is seen going in through a "stage door," and then we hear him telling the story of his descent and recovery. We can't tell if this is supposed to be genuine testimony or a performance. That's the problem with the whole movie.
    • 67 Metascore
    • 50 Roger Ebert
    All of the materials are in place for a film that might have pleased Orwell. But somehow they never come together.
    • 50 Metascore
    • 50 Roger Ebert
    They (fans) know what they enjoy. They don't want no damn movies with damn surprises. I am always pleased when moviegoers have a good time; perhaps they will return to a theater and someday see a good movie by accident, and it will start them thinking.
    • 55 Metascore
    • 50 Roger Ebert
    Beloved evokes some of the fine moments in the careers of Deneuve and Marcello Mastroianni, but it doesn't re-create them.
    • 70 Metascore
    • 50 Roger Ebert
    The movie's problem is that it loads the casting in a way that tilts the movie in the direction of a Harlequin romance.
    • 35 Metascore
    • 50 Roger Ebert
    A mushy and limp musical fantasy, so insubstantial it keeps evaporating before our eyes. It's one of those rare movies in which every scene seems to be the final scene; it's all ends and no beginnings, right up to its actual end, which is a cheat.
    • 45 Metascore
    • 50 Roger Ebert
    An ordinary film with ordinary characters in a story too big for it. Life has been reduced to a Lifetime movie.
    • 60 Metascore
    • 50 Roger Ebert
    So determined to be clever and whimsical that it neglects to be anything else.
    • 47 Metascore
    • 50 Roger Ebert
    My problem with Borstal Boy isn't so much with the facts as with the tone.
    • 49 Metascore
    • 50 Roger Ebert
    Watching this film was a cheerless exercise for me. The characters are manic and idiotic, the dialogue is rat-a-tat chatter, the action is entirely at the service of the 3-D, and the movie depends on bright colors, lots of noise and a few songs in between the whiplash moments.
    • 49 Metascore
    • 50 Roger Ebert
    In its mastery of its moments, Jackpot has charm, humor and poignancy. What it lacks is necessity. There's a sense in which we're always waiting for it to kick in.
    • 30 Metascore
    • 50 Roger Ebert
    It looks great, it hurtles through its paces and is well-acted. The soundtrack is like elevator music if the elevator were in a death plunge. The special effects are state of the art. Its only flaw is that it's disgusting.
    • 37 Metascore
    • 50 Roger Ebert
    There's a way to make a movie like The Tourist, but Florian Henckel von Donnersmarck doesn't find that way.
    • 65 Metascore
    • 50 Roger Ebert
    It wants to be a movie in search of a truth, but it's more like a movie in search of itself.
    • 49 Metascore
    • 50 Roger Ebert
    The picture is haunted by a story problem: It isn't about anything but itself. There's no sense of life going on in the corners of the frame.

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