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:
5564 movie reviews
    • 84 Metascore
    • 100 Roger Ebert
    Only a few films are transcendent, and work upon our minds and imaginations like music or prayer or a vast belittling landscape...Alone among science-fiction movies, 2001 is not concerned with thrilling us, but with inspiring our awe.
    • 67 Metascore
    • 100 Roger Ebert
    A remarkable film.
    • 74 Metascore
    • 100 Roger Ebert
    Inception does a difficult thing. It is wholly original, cut from new cloth, and yet structured with action movie basics so it feels like it makes more sense than (quite possibly) it does.
    • 93 Metascore
    • 100 Roger Ebert
    The best film ever made about filmmaking.
    • 77 Metascore
    • 100 Roger Ebert
    Body Heat is good enough to make film noir play like we hadn't seen it before.
    • 71 Metascore
    • 100 Roger Ebert
    Alexander's performance makes the film possible to watch without unbearable heartbreak, because she is brave and decent in the face of the horror. And the last scene, in which she expresses such small optimism as is still possible, is one of the most powerful movie scenes I've ever seen.
    • 68 Metascore
    • 100 Roger Ebert
    This is a movie about spies, but it is not a thriller in any routine sense of the word. It's just the meticulously observant record of how naiveté, inexperience, misplaced idealism and greed led to one of the most peculiar cases of treason in American history.
    • 63 Metascore
    • 100 Roger Ebert
    I think this is an important movie. Devastating, violent, hopeless, and important, because it holds a mirror up to a part of the world we live in, and helps us see it more clearly. In particular, it examines the connection between fame and obscurity, between those who have a moment of praise and notoriety, and those who see themselves condemned to stand always at the edge of the spotlight.
    • 81 Metascore
    • 100 Roger Ebert
    Chocolat is a film of infinite delicacy. It is not one of those steamy melodramatic interracial romances where love conquers all. It is a movie about the rules and conventions of a racist society and how two intelligent adults, one black, one white, use their mutual sexual attraction as a battleground on which, very subtly, to taunt each other.
    • 95 Metascore
    • 100 Roger Ebert
    The actors, as sometimes happens, create those miracles that can endow a film with conviction. Moadi and Hatami, as husband and wife, succeed in convincing us their characters are acting from genuine motives.
    • 64 Metascore
    • 100 Roger Ebert
    In its heedless energy and joy, it reminded me of how I felt the first time I saw "Raiders of the Lost Ark." It's like a film that escaped from the imagination directly onto the screen, without having to pass through reality along the way.
    • 78 Metascore
    • 100 Roger Ebert
    It is in every frame a beautiful and powerful film — a masterpiece.
    • 80 Metascore
    • 100 Roger Ebert
    The funniest movie I have seen in a long time.
    • 74 Metascore
    • 100 Roger Ebert
    Films like this are more useful than gung-ho capers like "Behind Enemy Lines." They help audiences understand and sympathize with the actual experiences of combat troops, instead of trivializing them into entertainments.
    • 61 Metascore
    • 100 Roger Ebert
    This is a brave, layered film that challenges the wisdom of victory at any price. Both of its central characters would slip easily into conventional plot formulas, but Bahrani looks deeply into their souls and finds so much more.
    • 83 Metascore
    • 100 Roger Ebert
    It's a movie based on an idea, and all the conventional wisdom agrees that emotions, not ideas, are the best to make movies from. But Being There pulls off its long shot and is one of the most confoundingly provocative movies of the year.
    • 68 Metascore
    • 100 Roger Ebert
    As a portrait of a deteriorating state of mind, We Need to Talk About Kevin is a masterful film.
    • 93 Metascore
    • 100 Roger Ebert
    A few great directors have the ability to draw us into their dream world, into their personalities and obsessions and fascinate us with them for a short time. This is the highest level of escapism the movies can provide for us.
    • 65 Metascore
    • 100 Roger Ebert
    Carl Franklin's film is true to the tone and spirit of the book. It is patient and in no hurry. It allows a balanced eye for the people in its hero's family who tug him one way and another.
    • 82 Metascore
    • 100 Roger Ebert
    It is a full-bodied silent film of the sort that might have been made by the greatest directors of the 1920s, if such details as the kinky sadomasochism of this film's evil stepmother could have been slipped past the censors.
    • 54 Metascore
    • 100 Roger Ebert
    The performance by Flora Cross is haunting in its seriousness. She doesn't act out; she acts in.
    • 89 Metascore
    • 100 Roger Ebert
    It is a luxury to be enveloped in a good film.
    • 91 Metascore
    • 100 Roger Ebert
    Seductive and beautiful, cynical and twisted, and one of the best films of the year.
    • 84 Metascore
    • 100 Roger Ebert
    Jacques Tati is the great philosophical tinkerer of comedy, taking meticulous care to arrange his films so that they unfold in a series of revelations and effortless delights.
    • 77 Metascore
    • 100 Roger Ebert
    Bernardo Bertolucci's Last Tango in Paris is one of the great emotional experiences of our time.
    • 47 Metascore
    • 100 Roger Ebert
    Those tensions and conflicts produced, I believe, the right film for this material. I don't require that its makers had a good time. I'm reminded of my favorite statement by Francois Truffaut: "I demand that a film express either the joy of making cinema or the agony of making cinema. I am not at all interested in anything in between."

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