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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    • 92 Metascore
    • 88 Richard Roeper
    The Zone of Interest
    What it does, and does so effectively, is remind us that the orchestrators of this genocide weren’t one-dimensional, psychopathic creatures out of a horror film; they were something far more terrifying. They were people.
    • 90 Metascore
    • 75 Richard Roeper
    All of Us Strangers
    Part psychological thriller, part moody thought piece, part romance, “All of Us Strangers” feels like a feature-length update of a classic “Twilight Zone” episode, and we mean that as a high compliment.
    • 37 Metascore
    • 50 Richard Roeper
    He Went That Way
    Unfortunately, “He Went That Way” never finds a steady tone, veers off into some bizarre subplots and features two surprisingly underwhelming performances from the talented lead duo.
    • 71 Metascore
    • 88 Richard Roeper
    Memory
    This is a film in which characters make questionable and sometimes troubling choices right up until the final scene, and yet we understand why they do the things they do, and we root fiercely for things to work between them.
    • 59 Metascore
    • 75 Richard Roeper
    Good Grief
    Levy now takes his quadruple-threat skill set to feature-length film by directing, writing, producing and starring in the warm and lovely albeit formulaic weeper “Good Grief,” which is not the story of the adult Charlie Brown (rats!) but the tale of a man who turns to his best friends for solace in his time of great need.
    • 72 Metascore
    • 88 Richard Roeper
    The Color Purple
    It’s a blazingly vibrant, emotionally resonant and exhilarating movie musical that does justice to Alice Walker’s iconic 1982 novel and the subsequent stage and movie versions while forging new creative paths and standing on its own as a bold and original work.
    • 54 Metascore
    • 63 Richard Roeper
    The Boys in the Boat
    It’s not that “The Boys in the Boat” doesn’t have an inspirational impact; it’s that we’re so aware of being pushed in that direction.
    • 42 Metascore
    • 50 Richard Roeper
    Aquaman And The Lost Kingdom
    A depressingly uninspired superhero adventure sequel that leans heavily on plot points and battle sequences we’ve seen in at least a dozen other films in the genre — and almost always done better.
    • 52 Metascore
    • 63 Richard Roeper
    Anyone But You
    It leans HARD into the romantic comedy tropes, to the point that you might find yourself giving into the silliness and the over-the-top embracing of so many clichés. It’s like you’re getting bombarded with rom-com snowballs for the entire movie.
    • 31 Metascore
    • 38 Richard Roeper
    Rebel Moon Part 1: A Child of Fire
    Unless this is a parody of “Star Wars,” it looks like we’re in for a long and ponderous, CGI-dominated slog filled with stock characters, slow-mo battle sequences and interminable flashbacks designed to give clarity to a murky and convoluted story. Spoiler alert: It’s not a parody. We should be so lucky.
    • 73 Metascore
    • 75 Richard Roeper
    Ferrari
    Ferrari never quite achieves the greatness of previous Mann movies such as “Thief” and “Heat,” but it’s a solid and extremely well-filmed slice of one legendary life.
    • 73 Metascore
    • 88 Richard Roeper
    The Iron Claw
    All four of the actors playing the brothers are standouts, with Zac Efron and Jeremy Allen White leading the way with some of the finest work of their respective careers. “The Iron Claw” isn’t an easy watch, but it’s one of the best films of the year.
    • 81 Metascore
    • 75 Richard Roeper
    American Fiction
    In writer-director Cord Jefferson’s timely and sharp and subversively funny “American Fiction,” Wright is accorded the relatively rare opportunity to take the lead, and he delivers a richly layered performance that reminds us he’s one of the best actors of his generation. It’s a joy to watch.
    • 39 Metascore
    • 63 Richard Roeper
    The Family Plan
    The Family Plan exists in a world that defies all logic and reality. Granted, this is an over-the-top comedy, and yes, there are a few dark laughs, but this is basically a live-action cartoon with a deadly premise.
    • 88 Metascore
    • 88 Richard Roeper
    Poor Things
    There’s always room for wholly original and unique stories, as evidenced by the one-two summer punch of “Barbie” and “Oppenheimer.” In that latter category, we can now add Yorgos Lanthimos’ beautifully garish, wonderfully twisted, unabashedly raunchy and at times grotesquely striking Poor Things, and while it might sound clichéd to say you’ve never seen anything like it, trust me: You’ve never seen anything like it.
    • 66 Metascore
    • 63 Richard Roeper
    Wonka
    Despite the best efforts of the talented director/co-writer Paul King (who gifted us with the “Paddington” movies) and the wonderful ensemble cast, Wonka is like one of those enticing-looking chocolates with a smooth and silky and delicious coating — but inside, you taste dry coconut instead of caramel or a cherry, what a bummer!
    • 75 Metascore
    • 75 Richard Roeper
    Immediate Family
    Director Tedesco employs some clever animation to capture certain moments, and also delivers a bounty of memorable moments when various musicians play a familiar drumbeat or guitar riff or piano intro in present day, e.g., Russ Kunkel playing brushes to hit the tom fills on “Fire and Rain.”
    • 65 Metascore
    • 75 Richard Roeper
    Fast Charlie
    Caan is notably frail in appearance, but he gives a forceful, funny, warm and strong performance in one last tough-guy role. Brosnan is a graceful and generous screen partner. Seeing these two veterans effortlessly nailing their scenes is the best thing about this movie.
    • 72 Metascore
    • 75 Richard Roeper
    Eileen
    The only reason I’m not giving Eileen a higher rating is because there are a couple of cheap and manipulative jump scare moments that only serve to take us out of the story and feel frustrated. Other than those hiccups, this is a first-rate period piece thriller with hauntingly memorable performances.
    • 91 Metascore
    • 88 Richard Roeper
    The Boy and the Heron
    While this period-piece, existential fantasy adventure doesn’t rank with the absolute finest entries in Miyazaki’s iconic canon, it’s still one of the most inventive and creative films, animated or otherwise, of the year.
    • 73 Metascore
    • 75 Richard Roeper
    A Disturbance in the Force
    Over the course of a brisk 86 minutes, the filmmakers do a stellar job of providing context and explaining just how the special came to be.
    • 53 Metascore
    • 75 Richard Roeper
    Silent Night
    For the 77-year-old Woo, who has influenced generations of directors with films such as “The Killer,” “Bullet in the Head” and “Face/Off,” this is his first American film since 2003’s “Paycheck,” and it is hardcore evidence Woo regains his signature style and his flair for over-the-top, sometimes poetically brutal action.
    • 47 Metascore
    • 50 Richard Roeper
    Candy Cane Lane
    Candy Cane Lane is harmless but teeters on the brink of being quite terrible.
    • 77 Metascore
    • 88 Richard Roeper
    Maestro
    Maestro is sure to garner multiple Oscar nominations, and deservedly so.
    • 68 Metascore
    • 88 Richard Roeper
    Leave the World Behind
    Leave the World Behind is a bold and tricky endeavor that pays off in just about perfect fashion. You might never think of “Friends” in the same way again.
    • 61 Metascore
    • 75 Richard Roeper
    Saltburn
    Writer-director Fennell, who won an Oscar for her screenplay of her film “Promising Young Woman” (2020), once again proves to be a cinematic provocateur capable of creating memorable shock-value moments, though at times the candy-colored, exquisitely staged yet often brutally ugly histrionics are more about the fireworks than substance.
    • 47 Metascore
    • 75 Richard Roeper
    Wish
    Yes, this film is unapologetically corny and unabashedly self-congratulatory, and while it pales in comparison to many of the classic animated films referenced throughout, the little ones should find it entertaining enough and the parents should be at least mildly amused as well as grateful for a zippy 95-minute running time.
    • 64 Metascore
    • 88 Richard Roeper
    Napoleon
    As you’d expect, Ridley Scott’s sweeping, decades-spanning and magnificently filmed epic Napoleon is a stylized and violent interpretation of the life and times of one of the most famous and infamous military commanders and political leaders history has ever known — but it’s also a surprisingly funny indictment of a sniveling brute of a man who is utterly unaware of his shortcomings, so to speak.
    • 44 Metascore
    • 50 Richard Roeper
    Next Goal Wins
    This is a shoddy-looking, superficial and cliché-embracing effort that misses the mark at every turn.
    • 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.
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