RogerEbert.com's Scores

  • Movies
  • TV
Select another publication »
For 7,549 reviews, this publication has graded:
  • 55% higher than the average critic
  • 3% same as the average critic
  • 42% lower than the average critic
On average, this publication grades 0.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Ghost Elephants
Lowest review score: 0 Buddy Games: Spring Awakening
Score distribution:
  1. Positive: 4,943 out of 7549
  2. Mixed: 1,248 out of 7549
  3. Negative: 1,358 out of 7549
7549 movie reviews
view
per page
  1. Young Ones
    Paltrow, whose previous directorial feature was the somewhat more apt 2007 showbiz romcom “The Good Night,” is an attentive student of cinema, as his mini-homages to the likes of Antonioni and Lucas in this story testify. But his story is a veritable nothingburger, here and there recalling notes from the likes of “Giant” and “There Will Be Blood,” but never really connecting on levels emotional or intellectual.
  2. Monster
    Despite the slick variety of shadings and textures Mandler employs to bring the story to life, the ending feels anticlimactic, like the tidy wrap-up at the conclusion of a TV procedural.
  3. Hell Fest
    It’s the closest you can subject people to a horror potluck without being "The Cabin in the Woods." So why can’t the six writers of this story have more fun with this premise?
  4. Stratton
    This really is a paint-by-numbers action movie with two good things going for it. Those are brevity — it’s only 93 minutes long — and immediate forgetability.
  5. Y2K
    Y2K doesn't want to break stuff; it wants to dig it out of the trash and pine nostalgically for it. That's just not as interesting.
  6. Dave Made a Maze
    The all-live action section of this movie is lit and shot almost exactly like an episode of “The Adventures of Pete and Pete.”
  7. 47 Meters Down: Uncaged
    Not even the most devoted of Mandy Moore fans would mistake 47 Meters Down for a good movie by any means.
  8. The Queen of Spain
    The Queen of Spain can only offer scant entertainment for movie buffs and non-movie buffs alike.
  9. Tyrel
    So listless and dry that the only jolt of electricity I experienced was when the screener blew up seven minutes before the end. The half hour I spent fighting with the Magnolia Pictures website was more suspenseful and interesting than anything I saw in their product.
  10. The Night Clerk
    Inert to such a degree that one wonders if the film has been slowed down, The Night Clerk doesn’t really go anywhere, truly disappointing for how much it wastes the talents of its young stars on a movie that doesn’t deserve them.
  11. Abraham's Boys: A Dracula Story
    Kermani deserves credit for expanding on Hill’s story, which has a great premise, but not much else going for it.
  12. Hell House LLC: Lineage
    Ultimately, it feels like Cognetti has lost sight of what people loved about the first movie.
  13. Another WolfCop
    Amateurish horror-comedy.
  14. A Dog's Purpose
    The tonal weirdness and the philosophical fallacies and the general level of treacle did not sit very well with me. Then again, I have to admit I’m really more of a cat person.
  15. Paradox
    Then again, even they may find that this collection of half-baked scenes, inscrutable imagery and, yes, a couple of splendid musical performances wears out its welcome long before its conclusion.
  16. Can You Keep a Secret?
    Can You Keep a Secret? doesn’t elicit warm laughs so much as heavy sighs, even though the film has some zippiness — there’s a slapstick spirit to the movie that doesn’t shine because the jokes are plain, the couple is tough to root for, and the general tension behind this weird situation is on the lazier side of rom-com premises.
    • 73 Metascore
    • 38 Critic Score
    Dukhtar
    The rampancy of clichés might have been okay were Dukhtar slightly more self-aware.
  18. The Last Thing He Wanted
    Dee Rees’ The Last Thing He Wanted is incomprehensible to an almost impressive degree — usually when a movie's narrative gets so out of control, it over-corrects itself at some point before the end. But not here.
  19. Great White
    Perhaps Wilson would have benefitted from the subtle method of Jaws, or even The Reef, by prioritizing teasing over showing. But here, the shark’s frequent appearances and unrealistic looks lessen the impact of the fear it’s supposed to spread, despite some truly unnerving camerawork by Tony O’Loughlan.
  20. Daniela Forever
    Daniela Forever, Nacho Vigalondo’s first film since his excellent “Colossal,” eight years ago, is a baffling disappointment, a sci-fi mindbender with echoes of “Eternal Sunshine of the Spotless Mind” and “Inception,” but no idea what to do with its many ideas or what it’s ultimately trying to say.
  21. No Stranger Than Love
    Feels like it probably began life as a one-act play, set almost entirely in Lucy’s living room and with a small cast of characters. It has that feeling of a piece that needed a bit more workshopping to discern its purpose and, like a lot of independent cinema that feels like it has theatrical origins, never becomes convincingly cinematic.
  22. The Weekend
    By the time Margo finally announces that she’s ready to leave, I was eager to gather my things and join her in escaping this would-be comedy.
  23. Radium Girls
    Radium Girls is bogged down by a trite script, inconsistent character motivations, and an over-reliance on historical footage that has little to do with the film itself. The anger inspired by what happened to these women is invigorating, but that fury is rarely felt from what Radium Girls offers as a cinematic experience.
  24. Juanita
    It would have been interesting to see a better version of a working class “Eat Pray Love” or “How Stella Got Her Groove Back” that swaps thrilling destinations outside the U.S. for a bus ticket somewhere in the States to reconnect with who you are. Juanita feels like an approximation of this experience.
  25. Dark River
    Everything in Dark River feels like it’s designed not with real people in mind but with Serious Independent Cinema in mind. It’s a movie so filled with pregnant pauses and pretentious looks that it never develops an emotional undercurrent at all.
  26. Faith of Our Fathers
    Faith of Our Fathers doesn't work, and not because of its Christian message. The main problems are the obvious script (every plot-twist can be seen coming from miles down the road), the bad acting, and the cheaply-done, unconvincing Vietnam flashbacks.
  27. The Toll
    Horror movies don’t have to make a lick of sense as long as they get under your skin, engage in some intriguing myth making, gross you out, or simply terrify you. The Toll tries to do several of these, failing so badly that you may be angry at yourself for watching it.
  28. The Benefactor
    This movie is one big, unsatisfying tease.
    • 51 Metascore
    • 38 Critic Score
    The Kid
    By the end of the film, we don’t really gain any new moral clarity about what it means to confront a world where might makes right, and we are left with the discomforting idea that the only thing ultimately protecting women from violence is a good man with a gun.
  30. Sollers Point
    One can imagine that Sollers Point might be better if its focus expanded to the area's inhabitants, not just Keith.
  31. The Transporter Refueled
    To be honest, this storyline is not noticeably stupider in theory than any of the other "Transporter" films.
  32. A Week Away
    This isn't an unwatchable movie, just an underachieving and forgettable one, and somehow that's more irritating than a disastrous swing for the fences would've been.
  33. Lost Transmissions
    Pegg and Temple’s responsive, well-attuned performances are actually the most frustrating things about Lost Transmissions since they’re good enough to make you want to care, even when their characters don’t seem to be worth caring about.
  34. Black Water
    Van Damme and Lundgren have worked together five times now since 1992, when the two '80s icons traded blows and bullets in the first "Universal Soldier" film. Not much has changed in 26 years since Lundgren, playing a berserk cyborg antagonist, stole that earlier film, too.
  35. Endgame
    Endgame tries to be about many important issues, and ends up doing none of them justice.
  36. Deception
    To give Deception, the latest attempt to bring Roth to the screen, a little bit of credit, it does come closer than most to rendering his prose stylings into cinematic terms. But it does so in a film so lifeless and inert from a dramatic standpoint that few viewers are likely to notice or even care.
  37. No One Will Save You
    The opening moments of the first act are rendered as the film’s best, as No One Will Save You continues to fall apart due to a frustrating lack of narrative context.
  38. Tau
    A wannabe-thriller about artificial intelligence with little wit of its own.
  39. The Amazing Johnathan Documentary
    The fact that director Ben Berman is making a documentary would make this concept quite unsavory, that is, if the entire enterprise weren’t so damn dull.
  40. London Calling
    It’s a bit of a tropey mess, but the intent is clear: to have fun. And while the fun-having of the filmmaking itself translates well to the screen amidst a few genuine laughs, “London Calling” is mostly stale.
  41. Bad Things
    Where the central four characters' friendship and intersecting romantic relationships are meant to be the film’s grounding center, there's nothing but flimsy connections and dead air. There’s no chemistry between the characters and no genuine feeling in their performances.
  42. Cheaper by the Dozen
    The latest Cheaper by the Dozen is worse than formulaic; it is lazy and condescending to its audience.
  43. Independence Day: Resurgence
    It’s just dull and hollow — a massive waste of time and money. The characters are flimsy, the dialogue is stilted and the amount of destruction is ridiculous.
  44. Suicide Squad
    With a few, rare exceptions, the attempts at humor in “Suicide Squad” land with a thud—that is, if you can hear such a sound over the deafening din of gunfire and the bombastic score.
  45. The Divine Fury
    The Divine Fury does sound like fun, especially given that, in the film, demons tend to catch fire as they’re exorcised. There’s also a climactic fight scene involving a scaly demon-man. And a ton of dead air, boring asides, tedious backstory, and other unnecessary narrative padding.
  46. Life on the Line
    This is one of those “based on true events” movies that give you the distinct feeling that the true events deserved better.
  47. Kill Your Darlings
    Kill Your Darlings presents a minor prelude to a major literary movement.
  48. Bruised
    Berry’s Bruised is a familiar comeback tale relying on the inner-city motifs of 1990s hood films to deliver a melodramatic, barely coherent prestige vehicle with very little to say about MMA itself.
  49. Escape Plan
    Yeah, it's a mishmash of good, strange ideas and generic nonsense, barely held together by Sly and Arnie.
  50. Railroad Tigers
    Though it boasts a large scope with its ensemble cast, huge sequences and the star power of the almighty Jackie Chan, Railroad Tigers lacks the vital focus to come together.
  51. Endings, Beginnings
    The main problem is: It's not actually clear what is appealing and/or interesting about any of these people.
  52. Mafia Mamma
    Mafia Mamma lives in the uncanny valley between incompetent and unwatchable.
  53. Spellbound
    Some of the voice work elevates what could have been a total disaster, and the legendary Alan Menken drops a couple of entertaining compositions, but it's a largely forgettable venture that families will watch during Thanksgiving break before the Netflix algorithm buries it forever.
  54. American Folk
    Despite a few good scenes and ideas, and a final ten minutes that will be affecting for anyone who lived through the aftermath of the attacks on New York, the end product often feels like a standard-issue high concept romantic comedy with scaffolding of 9/11 solemnity built around it.
  55. Snake Eyes: G.I. Joe Origins
    More often than not, Snake Eyes: G.I. Joe Origins is a dire checklist of clichés that were already gathering moss back in the 1980s, when G.I. Joe was a popular children’s cartoon.
  56. Paris Countdown
    A middle-aged bromance tucked inside a French crime thriller, a slick and brutal B-action picture that finds writer-director Edgar Marie channeling Nicolas Winding Refn channeling early Michael Mann.
  57. Coffee & Kareem
    Coffee & Kareem is stock R-rated buddy-cop comedy shenanigans by way of cuteness, and it ain't "Stuber."
  58. Walkaway Joe
    Typically reliable actors like David Strathairn and Jeffrey Dean Morgan can only do so much when they’re given so little to work with on the page.
  59. From Black
    You never have to wonder or try to understand what the characters are feeling because they never stop telling you how to feel. The answer, invariably, is sad and fearful, but From Black is neither, really.
  60. Hellbenders
    One of those films that expends so much time and effort in trying to become the next big cult sensation that it never gets around to simply being a good movie.
  61. The Bronze
    This ostensibly edgy comedy didn't wring a single laugh out of me until maybe fifteen minutes before the finale.
  62. Last Knights
    Last Knights is so thoroughly mediocre, so dully empty, that it’s difficult to summon the enthusiasm to trash it.
  63. Lazy Susan
    It never quite works on its own. What’s crucial at the core is creating a character who feels like a real human being; Susan is more of a collection of quirks and bad choices. There just isn’t much to her. And the novelty alone of seeing Hayes play a woman is not enough to recommend this, although he does offer sporadic glimmers of vulnerability and humanity.
  64. Mercy Black
    If having their own Momo is Netflix’s latest attempt to grab viewers, they’re gonna need a much more disturbing monster.
  65. An Acceptable Loss
    While Chappelle neatly outlines the tragic events caused by his spiritually bruised protagonist, it’s hard to stay engaged with his philosophical query that divides arguments into distinct rights and wrongs early on, and only asks shallow questions.
  66. Almost Love
    It's not the movie's fault, per se, although Almost Love has problems other than being jarringly out of date with How We Live Now.
  67. The Huntsman: Winter's War
    If you liked “Frozen” but wish it had been angrier, The Huntsman: Winter’s War is for you.
  68. American Animals
    Would you enjoy a movie where Warren Buffet robs a bodega — and kicks the bodega cat for good measure? Because that’s what American Animals feels like.
  69. Euphoria
    Euphoria struggles to be little more than a hum-drum meditation on kicking the bucket.
  70. The Only Living Boy in New York
    In a comedic bildungsroman like this one, it’s apt to have doubts about the hero early on, but you’re not supposed to want to throw him out of a high window. I did, and I never quite recovered from that feeling.
  71. Bad Therapy
    The dark comedy Bad Therapy, about a married couple that becomes prey for a disturbed and manipulative therapist, contains so many promising elements that it's a shame that it never figures out how to mold them into a satisfying shape.
  72. The Ice Road
    Despite its many perils, both natural and human, The Ice Road is surprisingly dull.
  73. The Estate
    Even with an embarrassingly rich cast, The Estate chokes on its own airlessness.
  74. Love, Guaranteed
    Love, Guaranteed is the kind of movie you leave on the TV because you’re lying on the couch with a cold, and the remote control has fallen off the blanket onto the rug, and you don’t feel like going to the trouble to reach down, grab it and change the channel.
  75. Catching Fire: The Story of Anita Pallenberg
    Despite claiming otherwise in its marketing, this doc still wants to uphold her as the rock n’ roll goddess of the headlines rather than as a person on her own terms.
  76. Alpha
    At times, “Alpha” plays like a Cronenbergian after-school special, in which the visual metaphors are overplayed, and the drama is broadly sketched to teach a moral lesson.
  77. Cut Bank
    From the beginning, Cut Bank isn’t just tonally inconsistent, it doesn’t really have one. It’s flat. There’s no sense of rhythm, tension, or atmosphere.
  78. Meet Me in the Bathroom
    Meet Me in the Bathroom is an impressionistic blur, more about what it felt like to be at the head of a scene than the actual scene’s character or identity.
  79. Kevin Hart: Let Me Explain
    Wait for this to show up where it belongs — on cable.
  80. Teenage Mutant Ninja Turtles
    If nothing else, Teenage Mutant Ninja Turtles reminds us that nostalgia is often used as a mandate for spectacularly lazy filmmaking.
  81. God Is a Bullet
    There are, to be sure, moments of shock. But they offer very little awe.
  82. Point Break
    The idea of remaking "Point Break" was not necessarily a bad idea, I suppose, but whatever charms that film might have had, they are utterly lost on the people behind this embarrassment.
  83. Paradise Highway
    If you squint you can nearly see the kind of movie Gutto might be aiming for.
  84. Anna
    Anna was written and directed by Besson himself and it still feels like a misfired rehash of his greatest hits.
  85. Killers Anonymous
    Killers Anonymous just doesn't make sense as a throwback to MTV-friendly sensibilities. It's also not inventive, funny, or energetic enough to warrant its creators' vague ideas about deceiving looks, moral relativism, and, uh, girl power?
  86. Winner
    Destined to fade into obscurity in the presence of the other two films about Reality Winner, Fogel’s version should at least indicate to other filmmakers that they must leave this story alone and move on to other preoccupations.
  87. Bitch
    It’s like a surreal, extreme version of “Bad Moms.”
  88. Jeanne du Barry
    Jeanne du Barry cares more about the love affair between two non-distinct people wearing exquisite clothes in stunning rooms than the reality that would sweep away those rooms, those clothes, and those people in just a few years' time.
  89. The Curse of Downers Grove
    Alternately idiotic and boring horror thriller.
  90. The Book Thief
    In the end, there's a distinct air of solipsism to this tale.
  91. Port Authority
    The main goal of Port Authority is the simple but unfortunately necessary message that “hey, trans people are people, too!” It’s too bad this film isn’t really about them.
  92. Last Christmas
    It doesn’t help that neither Yeoh nor Thompson play a character that remotely resembles real people in a film that only brushes over the anxieties of immigrants in the still-early days of Brexit.
  93. Your Monster
    Its uneven, heavy-handed approach to breakups and bad exes may quench some urge for revenge, but our main character’s heart isn’t in it.
    • 68 Metascore
    • 38 Critic Score
    The Blackcoat's Daughter
    In spite of some compelling performances and a consistent mood, the film fails to ground any of these aesthetic flourishes in story or emotion.
  95. Holy Lands
    Sthers has amassed such a strong cast of veteran actors that they manage to create some resonant moments now and again.
  96. Shattered
    Unfortunately, the craftsmanship is lacking.
  97. Oslo
    The timing of Oslo is less than ideal, current events being what they are. The framing, too, is blinkered and naïve.
  98. Foster Boy
    Had the filmmakers put forth the effort to view the story through Jamal’s eyes, they may have had a worthy cinematic counterpart to their noble off-camera achievements.
  99. Elliot: The Littlest Reindeer
    The action/competition scenes have some dynamism, but the overall look of the film is unimaginative.
  100. All Day and a Night
    There is not a single original idea in All Day and A Night. Not one solitary surprise is to be had here.
Page:

Top Trailers

See all »
See all trailers »