Roger Ebert

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Chicago Sun-Times, RogerEbert.com
For 5,564 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 5.9 points higher than other critics. (0-100 point scale)

Roger Ebert's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 42: Forty Two Up
Lowest review score: 0 I Spit on Your Grave
Score distribution:
  1. Positive: 4,184 out of 5564
  2. Mixed: 802 out of 5564
  3. Negative: 578 out of 5564
5564 movie reviews
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    • 87 Metascore
    • 100 Roger Ebert
    Russian Ark
    The film is a glorious experience to witness, not least because, knowing the technique and understanding how much depends on every moment, we almost hold our breath.
    • 87 Metascore
    • 100 Roger Ebert
    Gomorrah
    Gomorrah looks grimy and sullen, and has no heroes, only victims. That is its power.
    • 41 Metascore
    • 50 Roger Ebert
    Four Christmases
    We got two gold-record singers and they don't sing? So? We got five Oscar-winning actors, and they don't need to act much.
    • 87 Metascore
    • 100 Roger Ebert
    Withnail and I
    Conveys the experience of being drunk so well that the only way I could improve upon it would be to stand behind you and hammer your head with two-pound bags of frozen peas.
    • 62 Metascore
    • 88 Roger Ebert
    Lord of War
    A bleak comedy, funny in a "Catch-22" sort of way, and at the same time an angry outcry against the gun traffic.
    • 87 Metascore
    • 100 Roger Ebert
    Medium Cool
    Medium Cool is finally so important, and absorbing because of the way Wexler weaves all these elements together. He has made an almost perfect example of the new movie. Because we are so aware this is a movie, It seems more relevant and real than the smooth fictional surface of, say, Midnight Cowboy.
    • 52 Metascore
    • 63 Roger Ebert
    Elsa y Fred
    A sweet but inconsequential romantic comedy.
    • 48 Metascore
    • 63 Roger Ebert
    Red Hook Summer
    Here is Lee at his most spontaneous and sincere, but he could have used another screenplay draft, and perhaps a few more transitional scenes.
    • 87 Metascore
    • 88 Roger Ebert
    Three Colors: Blue
    Think of how we read the thoughts of those closest to us, in moments when words will not do. We look at their faces, and although they do not make any effort to mirror emotions there, we can read them all the same, in the smallest signs. A movie that invites us to do the same thing can be very absorbing.
    • 87 Metascore
    • 75 Roger Ebert
    In the Mood for Love
    The most ingenious device in the story is the way Chow and Su play-act imaginary scenes between their cheating spouses.
    • 87 Metascore
    • 100 Roger Ebert
    Mulholland Dr.
    This is a movie to surrender yourself to. If you require logic, see something else. Mulholland Drive works directly on the emotions, like music.
    • 87 Metascore
    • 75 Roger Ebert
    F for Fake
    F For Fake is minor Welles, the master idly tuning his instrument while the concert seems never to start again. But it's engaging and fun, and it's astonishing how easily Welles spins a movie out of next to nothing.
    • 87 Metascore
    • 100 Roger Ebert
    Cléo from 5 to 7
    Released in 1962, it seems as innovative and influential as any New Wave film.
    • 87 Metascore
    • 100 Roger Ebert
    Grizzly Man
    The documentary is an uncommon meeting between Treadwell's loony idealism, and Herzog's bleak worldview.
    • 87 Metascore
    • 100 Roger Ebert
    Goldfinger
    Of all the Bonds, Goldfinger is the best, and can stand as a surrogate for the others. If it is not a great film, it is a great entertainment, and contains all the elements of the Bond formula that would work again and again.
    • 87 Metascore
    • 100 Roger Ebert
    One False Move
    It's so rare to find a film in which the events are driven by people, not by chases or special effects. And rarer still to find a story that subtly, insidiously gets us involved much more deeply than at first we realize, until at the end we're torn by what happens - by what has to happen.
    • 87 Metascore
    • 100 Roger Ebert
    Jaws
    One of the most effective thrillers ever made.
    • 87 Metascore
    • 75 Roger Ebert
    Spartacus
    The most entertaining performance in the movie, consistently funny, is by Ustinov, who upstages everybody when he is onscreen (he won an Oscar).
    • 87 Metascore
    • 88 Roger Ebert
    Wallace & Gromit: The Curse of the Were-Rabbit
    Wallace and Gromit are arguably the two most delightful characters in the history of animation.
    • 87 Metascore
    • 100 Roger Ebert
    Lincoln
    Rarely has a film attended more carefully to the details of politics.
    • 87 Metascore
    • 75 Roger Ebert
    Elena
    Shoot this film in black and white and cast Barbara Stanwyck as Elena, and you'd have a 1940s classic.
    • 87 Metascore
    • 100 Roger Ebert
    The Fugitive
    A tense, taut and expert thriller that becomes something more than that, an allegory about an innocent man in a world prepared to crush him.
    • 87 Metascore
    • 100 Roger Ebert
    The Death of Mr. Lazarescu
    Like "United 93" and the work of the Dardenne brothers, it lives entirely in the moment, seeing what happens as it happens, drawing no conclusions, making no speeches, creating no artificial dramatic conflicts, just showing people living one moment after another, as they must.
    • 87 Metascore
    • 88 Roger Ebert
    Maria Full of Grace
    The movie has the freshness and urgency of life actually happening.
    • 87 Metascore
    • 100 Roger Ebert
    Shakespeare in Love
    I was carried along by the wit, the energy and a surprising sweetness.
    • 87 Metascore
    • 100 Roger Ebert
    The Fog of War: Eleven Lessons from the Life of Robert S. McNamara
    McNamara speaks concisely and forcibly, rarely searching for a word, and he is not reciting boilerplate and old sound bites; there is the uncanny sensation that he is thinking as he speaks.
    • 87 Metascore
    • 88 Roger Ebert
    Uncle Boonmee Who Can Recall His Past Lives
    If you are open, even in fancy, to the idea of ghosts who visit the living, this film is likely to be a curious but rather bemusing experience.
    • 87 Metascore
    • 100 Roger Ebert
    Brokeback Mountain
    Brokeback Mountain has been described as "a gay cowboy movie," which is a cruel simplification. It is the story of a time and place where two men are forced to deny the only great passion either one will ever feel. Their tragedy is universal.
    • 87 Metascore
    • 88 Roger Ebert
    The Kid with a Bike
    The most mysterious character in The Kid With a Bike is not the kid, who after all, has a story it's fairly easy to understand. It is the hairdresser, played by Cecille De France with her sad beauty. This actress carries lifetimes in her eyes.
    • 33 Metascore
    • 38 Roger Ebert
    New Year's Evil
    New Year's Evil is an endangered species - a plain, old-fashioned, gory thriller. It is not very good. It is sometimes unpleasantly bloody. The plot is dumb and the twist at the end has been borrowed from hundreds if not thousands of other movies. But as thrillers go these days, "New Year's Evil" is a throwback to an older and simpler tradition, one that flourished way back in the dimly remembered past, before 1978.
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