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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    • 49 Metascore
    • 50 Richard Roeper
    The Gray Man
    The bloated, bombastic and brain-dead Netflix actioner The Gray Man is a depressingly formulaic waste of the talents of the Russo Brothers and the A-list cast — and a complete waste of 2 hours and 2 minutes of your time, unless you’re content to hit the “Recline” button on your theater seat, soak in the exotic locations, jam your arm into a bucket o’ popcorn and laugh at the hackneyed, cartoonishly violent and utterly ridiculous idiocy of the entire exercise.
    • 42 Metascore
    • 75 Richard Roeper
    Persuasion
    Does it come across as a bit precious at times? Yes. Is it particularly groundbreaking? No. Am I going to ask and answer one more question here and tell you if this is a light and breezy confection with delightful performances? You betcha.
    • 70 Metascore
    • 75 Richard Roeper
    Mrs. Harris Goes to Paris
    Mrs. Harris Goes to Paris is the very definition of a feel-good movie. It knows exactly how to press our buttons and we’re fine with that, because we’re just happy to witness this seemingly invisible woman have her well-deserved moment to shine.
    • 57 Metascore
    • 50 Richard Roeper
    Thor: Love and Thunder
    Thor: Love and Thunder is one of the goofiest and least consequential sagas in MCU history — an allegedly wild and wacky but ultimately disappointing and disjointed chapter in the ongoing story of the God of Thunder, who seems to get more clueless with each passing movie.
    • 54 Metascore
    • 63 Richard Roeper
    Hello, Goodbye and Everything in Between
    Every character in the Netflix teenage rom-com “Hello, Goodbye and Everything in Between” is just so nice that we wish them all well, but we’re not fully convinced there’s enough here for an actual movie.
    • tbd Metascore
    • 88 Richard Roeper
    Girl in the Picture
    An astonishing, horrific, fascinating and complex true-crime story that starts with a brutal act of murder in the late 20th century and winds its way well into the 2000s and 2010s.
    • 59 Metascore
    • 88 Richard Roeper
    The Forgiven
    The Forgiven holds us in its grips until the very last frame.
    • 65 Metascore
    • 75 Richard Roeper
    Mr. Malcolm's List
    Mr. Malcolm’s List is a low-key, pleasant slice of escapism, with some lovely scenery and the attendant period-piece costumery and lavish estates, and a host of great-looking people bending themselves into all sorts of knots and doing their best to keep up with the quipping and the courtship rituals and the obligatory Misunderstandings, Deceptions and Betrayals before it all ends with … spoiler alert … declarations of true love!
    • 34 Metascore
    • 50 Richard Roeper
    The Man from Toronto
    This is the kind of movie that keeps the great Ellen Barkin literally in the shadows as a criminal mastermind, and relegates the wonderful Kaley Cuoco to an embarrassing supporting role as a man-hungry best girlfriend who might as well have stepped out of a cheesy 1970s rom-com. Is anybody even trying here?
    • 65 Metascore
    • 88 Richard Roeper
    The Black Phone
    Based on a short story from Joe Hill and directed with tone-perfect style by Scott Derrickson, who wrote the screen adaptation with his “Doctor Strange” writing partner C. Robert Cargill, The Black Phone is a hauntingly effective, perfectly paced, consistently chilling and wickedly warped horror gem.
    • 64 Metascore
    • 88 Richard Roeper
    Elvis
    If you thought the magnificently flamboyant Luhrmann was well-suited to put the flashiest of spins on “The Great Gatsby,” you can imagine what he does with the made-for-overkill mythology of Elvis — and from the moment we see a bejeweled version of the Warner Bros. Pictures logo, we know Luhrmann is going to flood our senses with a nonstop medley of arresting sights and sounds, never taking his foot off the directorial gas pedal.
    • 60 Metascore
    • 75 Richard Roeper
    Lightyear
    This is a high-concept and yes, meta, film that springs from a clever premise and delivers wholesome, energetic, positive-messaging entertainment — even if there are some plot developments straight out of “Interstellar” meets “Back to the Future” that will sail above the heads of the little ones.
    • 54 Metascore
    • 38 Richard Roeper
    Spiderhead
    In more ways than one, this is one of the dopiest films of the year.
    • 69 Metascore
    • 75 Richard Roeper
    Cha Cha Real Smooth
    Writer-director-star Cooper Raiff’s smart and charming and delightfully offbeat Cha Cha Real Smooth is a movie very much of the present day, but there’s something almost nostalgic about the self-consciously indie material in that it reminded me of somewhat similarly themed gems such as “Rushmore” (1998), “Igby Goes Down” (1998) and “Tadpole” (1998) — and all of these films are generational descendants of “The Graduate” (1966).
    • 63 Metascore
    • 75 Richard Roeper
    Halftime
    Even with all that success and a number of high-profile romances, Lopez has maintained a tight control over her image (like most stars on that level), and this is probably as close as her fans are going to get to a revealing filmed biography.
    • 65 Metascore
    • 75 Richard Roeper
    The Phantom of the Open
    The Phantom of the Open is about as deep and complex as a round of miniature golf, but it’s just as much fun as well.
    • 38 Metascore
    • 38 Richard Roeper
    Jurassic World Dominion
    This is two hours and 27 minutes of pure dinosaur droppings, and the viewer is as helpless as a boat passing under a bridge on the Chicago River as the Dave Matthews Band unloads a torrent of foul waste from above.
    • tbd Metascore
    • 88 Richard Roeper
    Relative
    The gifted writer-director Michael Glover Smith (“Mercury in Retrograde,” “Rendezvous in Chicago”) continues to grow as a filmmaker, as he expertly moves around the pieces on the chessboard over the course of a story told over three days and filled with potentially life-changing confrontations, revelations and realizations.
    • 81 Metascore
    • 88 Richard Roeper
    The Janes
    Directors Tia Lessin and Emma Pildes do nomination-worthy work in telling the story of what women had to endure in the years immediately preceding Roe v. Wade — and how one group of smart, independent, determined, resourceful and brave women in Chicago created an underground network to facilitate illegal but safe abortions for literally thousands of individuals from 1968-1973.
    • 63 Metascore
    • 88 Richard Roeper
    18½
    Neither Connie nor Paul existed in real life, and the events in 18 ½ are pure fancy. Still, this is an eccentrically intriguing and thought-provoking chapter in the long history of Watergate-based TV series and films.
    • 66 Metascore
    • 75 Richard Roeper
    Hollywood Stargirl
    Hollywood Stargirl is smart, family-friendly entertainment with the perfect combination of real-world plausibility and magical escapism.
    • 68 Metascore
    • 75 Richard Roeper
    Hustle
    Even in its more melodramatic moments, Hustle feels like it’s taking place in today’s NBA world. This is Adam Sandler’s love letter to the game, and it is great fun from the opening tip to the final buzzer.
    • tbd Metascore
    • 88 Richard Roeper
    Skate or Die
    Skate or Die is culled from more than 100 hours of footage shot by Ferguson in the late 2000s and early 2010s, and with a great assist from editor Zebediah Smith, the end result is an 84-minute, journalistically impressive documentary that knows how to get out of its own way and let the story and the subject matter come to three-dimensional life in a stylistically appropriate fast-paced fashion.
    • 68 Metascore
    • 75 Richard Roeper
    Crimes of the Future
    While there are times when Cronenberg seems to be indulging in his trademark gross-out visuals for the sake of shock, Crimes of the Future is darkly funny and consistently thoughtful — and, for all its moments of extreme horror, offers legitimate commentary on issues such as body dysmorphia and the extreme measures taken by some real-world individuals in order to carve, sculpt and tattoo their bodies as evolving canvasses of expression.
    • 78 Metascore
    • 75 Richard Roeper
    Top Gun: Maverick
    Maverick is a movie made for “Top Gun” fans BY “Top Gun” fans, including director Joseph Kosinski, who wisely follows Scott’s directorial playbook nearly page for page and gives Cruise and the outstanding supporting cast breathing room to shine in alternating scenes of hotshot pilot banter and dramatic emotional impact.
    • 73 Metascore
    • 88 Richard Roeper
    Emergency
    For all its influences and roots in similar types of comedies, Emergency is an original work, very much of its time.
    • 65 Metascore
    • 75 Richard Roeper
    Men
    There are times when Men comes across as being trippy and bizarre for the sake of easy scares, but thanks to Garland’s keen sense of pacing, the typically outstanding work from Jessie Buckley as our heroine and a staggeringly good, multi-character performance by Rory Kinnear, this is unlike any other film this year.
    • 63 Metascore
    • 75 Richard Roeper
    Downton Abbey: A New Era
    As usual, the production design and costumes are museum-perfect, and even as things remain as complicated ever with the Crawleys et al., the film itself is the definition of a simple pleasure.
    • 47 Metascore
    • 50 Richard Roeper
    Senior Year
    Senior Year doesn’t come across as condescending or cynical; it’s just harmless and sweetly dopey and instantly forgettable.
    • 32 Metascore
    • 75 Richard Roeper
    Firestarter
    Directed with a more fittingly dark, austere, horror-movie vibe by Keith Thomas and featuring grounded performances from an excellent cast headed by Zac Efron, Sydney Lemmon and newcomer Ryan Kiera Armstrong, this Firestarter is a combustible supernatural thriller that embraces its borderline campy qualities and works well enough as 21st century drive-in escapist fare.
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