RogerEbert.com's Scores

  • Movies
  • TV
For 4,659 reviews, this publication has graded:
  • 55% higher than the average critic
  • 2% same as the average critic
  • 43% lower than the average critic
On average, this publication grades 1.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 The Farewell
Lowest review score: 0 The Human Centipede III (Final Sequence)
Score distribution:
4659 movie reviews
  1. Fatherhood is at its best and most watchable when it’s just Hart and Hurd onscreen. Matt and Maddy’s undeniable and reciprocated love for one another radiates from the actors, even in their broadest scenes of comedy.
    • 79 Metascore
    • 75 Critic Score
    Moreno, who is brash and self-effacing, thoughtful and charismatic, has such a commanding presence on camera; every time she speaks, you unintentionally lean in a little closer, hanging on to every word she has to say.
  2. Filmmaker Nancy Buirski has an elegant, judicious way of imparting the facts of the case, taking not just the political temperature of the moment (boiling) but finely sketching the character and minds of the people involved.
  3. Summer of 85 plays like a bad parody of movies like Love Story and Summer of ’42, stories where some undeserving male learns a valuable lesson from a love affair and death.
    • tbd Metascore
    • 75 Critic Score
    In many ways Rise Again feels like something that would be perfect to show to a middle-school classroom—an even-keeled introduction to a crucial facet of American history and how it lives on painfully in the present—and yet whether this film would even be allowed to be utilized is currently a contentious subject of public debate.
    • 55 Metascore
    • 38 Critic Score
    Co-written by Ferrara and Christ Zois, who also wrote the Ferrara films Welcome to New York, The Blackout and New Rose Hotel, this picture can be described best as minimalist pretentiousness, a lot of angst and suffering with no particular place to go.
    • 71 Metascore
    • 75 Critic Score
    A soulful, uplifting, but also heartbreaking look at race and poverty's impact on troubled childhood, Alexandre Rockwell's Sweet Thing is a welcome return to form for the accomplished indie filmmaker.
    • 64 Metascore
    • 50 Critic Score
    Overall, Les nôtres fails to dive into the depths of its subject matter, hinting at a dark underbelly that it never full explores.
    • 78 Metascore
    • 75 Critic Score
    Von Horn has crafted an impressive art film that tells a story outside of the pathological narcissism commonly associated with the world of social media influencers. Even surrounded by the alarmingly curated lifestyle, von Horn and Koleśnik together bring to life a story with more nuance, sophistication and genuine moral curiosity than we’ve seen from the genre.
    • 81 Metascore
    • 100 Critic Score
    Once again, Edgar Wright has proven himself to be the master of whimsical filmmaking. Never I have seen a documentary as fun as Wright's The Sparks Brothers, which is thrilling from beginning to end.
  4. While some material may hit with younger audiences, Luca makes for Pixar’s least enchanting, least special film yet.
  5. In depicting one woman’s fight for justice, Kaufman’s indelible documentary becomes an empowering three-dimensional story of resistance and courage.
    • 32 Metascore
    • 75 Critic Score
    Directed by Patrick Hughes, this comic book-energy spy adventure, gorgeously captured by cinematographer Terry Stacey and keenly scripted with barbed laden dialogue from Tom O’Connor, Brandon Murphy, and Phillip Murphy, is heavy on blood, guts, action, and star power.
  6. Nicole Riegel's debut feature Holler is a film to treasure—an intimate drama about family and work, steeped in details that can only have been captured by a storyteller who lived them.
  7. There may be one too many obstacles placed in Prerna's way (the pet goat is a prime example), stacking the deck against her so there will be an even bigger payoff. But overall Skater Girl is so gratifying it doesn't matter.
  8. By indulging in the exact same instincts it insists are problematic artistically, Peter Rabbit 2 wants to have its carrot and eat it, too. But maybe that won’t bother you. Maybe you’ll be grateful for a return to the theater and the opportunity to do so with your kids. In that regard, the sequel hops along in sufficiently bouncy fashion.
  9. So while Enid’s investigation never goes anywhere noteworthy, Censor still fosters an increasingly desperate, anxiety-inducing effect.
  10. Akilla’s Escape is undone by its own lack of faith in the viewer, opting to explicitly tell rather than rely on its fine actors to show us who their characters are.
  11. It isn’t bad, per se, but I just never felt the emotional impact it's clearly hoping to achieve.
  12. The characters are bland, the dialogue is atrocious, the action is mediocre, and even the heist is a boring bust.
  13. Wholesome in the most “pull yourself up by your bootstraps” brand of mythical Americanism, 12 Mighty Orphans is engineered to rouse emotions with uncritical pride, never reaching the less immaculate corners of the historical period it employs as canvas.
  14. As all movies about this stage of life must, among obvious jokes about aches, pains, and Viagra—apparently it is okay to sexually objectify someone if you're old—Queen Bees touches gently and sympathetically on the inescapable challenges of aging, loss of loved ones, loss of independence, cancer, strokes, and dementia.
  15. Rather than crafting a high-concept science-fiction marvel, Fuqua’s Infinite relies on shoddy VFX and ropey world-building for the worst film of his career.
  16. Awake has just enough scares and strangeness, plus a sense of dread and paranoia, to make its horror creepy and enjoyable. It’s not a flawless thriller, but enough different elements click into place, like Rodriguez and Greenblatt’s performances.
  17. Whatever the Lutherans thought they were paying for, they accidentally unleashed our most deeply cynical artist at the height of his ferocity toward the country's decaying morality, and wound up funding one of the most upsetting films of the '70s.
  18. Jubilant, unapologetically massive, and bursting with a cozy, melancholic sense of communal belonging, In The Heights is the biggest-screen-you-can-find Hollywood event that we the movie lovers have been craving since the early days of the pandemic, when the health crisis cut off one of our most cherished public lifelines.
  19. It's to the credit of Anthony, who wrote and edited as well as directed, and his cinematographer Corey Hughes, that you come away thinking about parts of the film that felt like cut-able digressions and undergraduate musings when you were watching them.
  20. What could have been a powerful, timely, and potentially funny meditation on the grieving process is instead a work that's about as thin and flavorless as a gum wrapper.
  21. It’s full of pure, unadulterated love for “The Greatest,” so much so that the viewer can’t help but get enveloped in its adoration.
  22. The movie's dialogue is clunky and the acting is uneven, which keeps the tone more preachy than dramatic.

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