Richard Roeper

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Chicago Sun-Times, RogerEbert.com
For 2,095 reviews, this critic has graded:
  • 73% higher than the average critic
  • 2% same as the average critic
  • 25% lower than the average critic
On average, this critic grades 5.1 points higher than other critics. (0-100 point scale)

Richard Roeper's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 I'm Still Here
Lowest review score: 0 The Happytime Murders
Score distribution:
  1. Positive: 1,530 out of 2095
  2. Mixed: 367 out of 2095
  3. Negative: 198 out of 2095
2095 movie reviews
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    • 86 Metascore
    • 88 Richard Roeper
    May December
    With Samy Burch’s razor-sharp script providing some fantastically flourishing dialogue passages, frequent Haynes collaborator Julianne Moore delivering the latest in a long line of magnificently calibrated and memorable performances, and Moore’s fellow Oscar winner Natalie Portman turning in equally layered work, this is an intricately crafted study of people who are experts at putting on facades and all too skilled in the art of deception.
    • 86 Metascore
    • 75 Richard Roeper
    The Lost Daughter
    Maggie Gyllenhaal’s The Lost Daughter is a chilling and unnerving psychological horror film brimming with dicey characters who are capable of deeply disturbing behavior. We keep holding our breath because it feels like something awful is about to happen — and our instincts might not be wrong.
    • 86 Metascore
    • 100 Richard Roeper
    The Big Sick
    It is funny and smart and wise and silly, it is romantic and sweet and just cynical enough, and it is without a doubt one of the best romantic comedies I have seen in a long time.
    • 72 Metascore
    • 88 Richard Roeper
    Infinity Pool
    There are moments in Infinity Pool where it’s a test of wills to keep your eyes fixed on the screen, but beyond all the gruesome violence, Cronenberg’s screenplay is filled with sharply honed observations about culture and class differences, and some wickedly satisfying twists and turns. This is a film that is bat-bleep crazy but knows exactly what it is doing.
    • 86 Metascore
    • 88 Richard Roeper
    First Reformed
    With First Reformed, Schrader delivers his most impactful work in years, with Ethan Hawke’s haunting and brilliant work as Ernst Toller joining the ranks of great lead performances in Schrader films. This is an inescapably memorable and at times almost unbearably sorrowful piece of work.
    • 86 Metascore
    • 100 Richard Roeper
    Baby Driver
    It all works. All of it. The music, the performances, the twists and turns in the plot, the sheer energy and life force of the movie.
    • 86 Metascore
    • 100 Richard Roeper
    Crip Camp: A Disability Revolution
    Directors LeBrecht and Newnham do a nimble job of threading the stories of a number of campers into a compelling narrative, deftly moving back and forth from the newsreel-style footage from the 1970s and the interviews and life updates on the campers many decades later.
    • 85 Metascore
    • 75 Richard Roeper
    A Real Pain
    This is a smart and accomplished work with a quick wit, a palpable sense of melancholy and genuine heart.
    • 85 Metascore
    • 75 Richard Roeper
    The Green Knight
    The Green Knight contains some beautifully written passages, and cinematographer Andrew Droz Palermo delivers one award-worthy visual image after another.
    • 85 Metascore
    • 88 Richard Roeper
    Get Out
    The real star of the film is writer-director Jordan Peele, who has created a work that addresses the myriad levels of racism, pays homage to some great horror films, carves out its own creative path, has a distinctive visual style — and is flat-out funny as well.
    • 85 Metascore
    • 100 Richard Roeper
    West Side Story
    Soaring. Exhilarating. Magical. Heartbreaking. Unforgettable.
    • 85 Metascore
    • 88 Richard Roeper
    Eighth Grade
    Writer-director Bo Burnham’s Eighth Grade is a sweet and intelligent and sometimes absolutely heartbreaking slice of modern-day, eighth-grade life, which, in some ways (hello social media), is radically different from the eighth-grade experience of 1998 or 1978 or 1958, but in many ways is absolutely relatable to audiences of any age or gender.
    • 43 Metascore
    • 50 Richard Roeper
    Snake Eyes: G.I. Joe Origins
    My thoughts turn to the Giant CGI Anacondas in “Snake Eyes” and what their lives are like in between meals — and if that sounds ridiculous and outlandish and weird, welcome to this bombastic, slick, convoluted and unnecessary second-tier action franchise reboot.
    • 85 Metascore
    • 88 Richard Roeper
    Mudbound
    In this world, it seems as if every moment of happiness, every glimpse of a better future, is fraught with dangerous consequences.... But redemption and hope eventually shine through here and there, and when that happens, it’s a beautiful thing.
    • 85 Metascore
    • 75 Richard Roeper
    Passing
    This is a very personal project for Rebecca Hall, whose grandfather was Black but passed for white, and she has delivered an exquisitely crafted gem.
    • 85 Metascore
    • 100 Richard Roeper
    Everybody Wants Some!!
    Linklater introduces us to an abundance of characters, but it’s a tribute to his writing (and the performances) that each of the baseball players has a distinct personality and story thread.
    • 85 Metascore
    • 88 Richard Roeper
    Black Bag
    I’m not going to pretend I always knew exactly what everyone was talking about as we plunged ever deeper into the weeds of double-crossing and triple-crossing among a batch of mostly iniquitous secret agents, but it’s a zippy and darkly funny ride every step of the way. The dialogue jumps off the page, and the performances are universally brilliant.
    • 85 Metascore
    • 88 Richard Roeper
    The Fabelmans
    Typical Spielberg. Pulling on multiple heartstrings at the same time, to great effect.
    • 85 Metascore
    • 100 Richard Roeper
    I'm Still Here
    Based on a true story, this is a tribute to the strength of a matriarch who doesn’t have time to grieve or feel sorry for herself. She has children to love and protect.
    • 85 Metascore
    • 100 Richard Roeper
    The Handmaiden
    It’s a beautifully filmed, wonderfully challenging, multi-layered tale of trickery upon trickery, short con upon long con, deception upon deception.
    • 61 Metascore
    • 75 Richard Roeper
    The Hero
    Thanks in large part to Elliott (and Offerman and Prepon and Ritter, among others), The Hero survives some bumpy, well-worn clichés.
    • 84 Metascore
    • 88 Richard Roeper
    Are You There God? It's Me, Margaret
    While it took all these decades for “Are You There, God?” to finally gets its day in theaters, it was worth the wait, as writer-director Kelly Fremon Craig (“The Edge of Seventeen”) has delivered a near-perfect adaptation of Blume’s novel that wisely retains its 1970 setting yet no doubt will be as relevant as ever to audiences of all ages.
    • 84 Metascore
    • 100 Richard Roeper
    Once Upon a Time ... in Hollywood
    In certain elements of tone and structure, Once Upon a Time In Hollywood has echoes of "Pulp Fiction" and "Jackie Brown," but it is alive and electric with a beat all its own.
    • 84 Metascore
    • 88 Richard Roeper
    Booksmart
    In virtually every scenario, director Wilde and the team of screenwriters serve up the material in a fresh and original manner.
    • 84 Metascore
    • 88 Richard Roeper
    Trafic
    Tati is actually a silent comedian; his films are made with an amusing mixture of languages, but no one says anything very important and he doesn’t use subtitles because then we might read them and miss a sight gag.
    • 84 Metascore
    • 100 Richard Roeper
    To Leslie
    Every character in To Leslie feels “lived-in.” Every scene rings true, sometimes in surprising ways.
    • 84 Metascore
    • 100 Richard Roeper
    Toy Story 4
    The fourth entry is a worthy addition to the Toy Story library, bringing back some of the most beloved characters in the history of animated film and introducing us to a fantastically entertaining new bunch of toys — some of them adorable and huggable, some of them more reminiscent of a certain type of creepy, old-school doll usually seen in R-rated horror films.
    • 84 Metascore
    • 88 Richard Roeper
    In the Heights
    It would be a cliché to call In the Heights the Feel-Good Movie of the Year, but it would also be accurate. Perhaps for these times we might call it the Feeling-Better Movie of the year.
    • 84 Metascore
    • 88 Richard Roeper
    You Were Never Really Here
    Joaquin Phoenix has never been shy about going big if the role called for it — and maybe even if the role didn’t necessarily call for it — but his performance here ranks as one of his best because of what happens between the outbursts.
    • 84 Metascore
    • 75 Richard Roeper
    A Ghost Story
    Roughly 60 percent of A Ghost Story is disturbingly beautiful and spiritually challenging and stuck to me like a memory magnet. About 40 percent of A Ghost Story is maddeningly still and achingly self-conscious and just a little too pleased with itself.
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