RogerEbert.com's Scores

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For 7,564 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 0.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 The Samurai and the Prisoner
Lowest review score: 0 Buddy Games: Spring Awakening
Score distribution:
  1. Positive: 4,953 out of 7564
  2. Mixed: 1,251 out of 7564
  3. Negative: 1,360 out of 7564
7564 movie reviews
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  1. Horns
    Horns would seem like another gamble, and another opportunity to stretch. It’s a supernatural thriller, territory he’s familiar with, but taken to a raunchy, grotesque extreme.
  2. Intrepido: A Lonely Hero
    What comes across as genuine in the film, and might also help explain its origins, is its air of melancholy and loneliness.
  3. The Meg
    The end result may be little more than an exponentially more expensive version of those cheapo Syfy channel movies, but at least it has the good taste to be exponentially better as well.
  4. Cold Brook
    Cold Brook's obvious good intentions lend it a sweetness that cannot make up for insurmountable problems. The script, co-written by director and star William Fichtner, is under-imagined, with the characters overlooking the most obvious options and an overall framework we might charitably describe as outdated.
  5. Resort to Love
    At least the movie features a few solid performances to make it a worthwhile diversion for some viewers. Others less inclined to easily resolved romances may want to book some other excursion.
  6. Joker: Folie à Deux
    In the end, the wafer-thin story amounts to the same nihilistic slop that Phillips served up in the first “Joker,” albeit remixed, genre-wise.
  7. Marcello Mio
    Marcello Mio, written and directed by French filmmaker Cristophe Honoré, and starring Chiara Mastroianni, Catherine Deneuve, and a host of other European artistic luminaries, is a cinema in-joke elongated beyond all reason.
  8. Dolly
    Dolly sets viewers up for an experience that it can’t quite deliver, mostly due to small acts of self-sabotage.
  9. Untogether
    Despite being well shot, confidently written, and acted with a surfeit of commitment by most of its cast (Mendelsohn, who not for the first time reminded me uncomfortably of Trivago pitchman Tim Williams, is director Forrest’s ex-husband), I found the world it presented both smugly insular and overfamiliar.
  10. Christmas Bloody Christmas
    It’s a plodding, vague fantasy about the way things could be that gets interrupted by a rote chase/body count pic.
  11. Irish Wish
    Despite its minor flaws, "Irish Wish" is as pleasantly diverting as the kind of paperback romance novel Maddie edits for Paul, and just as forgettable.
  12. Beyond Skyline
    Tone is a revealing element for this project, which it borrows from the B-movie, apocalyptic seriousness of a later “Transformers” sequel. One of the movie’s biggest surprises is then that it has outtakes, which even include poking fun at how easily the intimidating alien’s costume head can fall off.
  13. The Last Days on Mars
    It really isn't even a bad movie, or a bad movie of its sort. It's just not good enough to really distinguish itself.
  14. Unsung Hero
    Unsung Hero could have used more of such emotional honesty. But it ultimately must deliver a broad uplift that’s palatable for the whole family, so it tends to skim the surface.
  15. The Upside
    It’s a hollow replica of its source material.
  16. The Public
    The film is often entertaining, with some nice touches and compelling moments.
  17. Dark Glasses
    As an enormous fan of Argento, I would love to be able to report that “Dark Glasses” is a worthy entry in his filmography, even if I had to go out on a limb to make my case. However, there's no branch long enough that would allow anyone to defend this particular effort, perhaps the only way in which the word “effort” could be used in conjunction with this film.
  18. The Queen of Spain
    The Queen of Spain can only offer scant entertainment for movie buffs and non-movie buffs alike.
  19. Detour
    Remarkably pointless movie.
  20. Back in Action
    Back in Action isn’t as obnoxiously soulless as “Red Notice,” but it’s firmly within that subgenre of glossy, globetrotting action pictures you can stream while you fold your laundry. It all feels so cynical.
  21. IF
    IF is a well-intentioned misfire—a kid's movie without laughs and a parent's movie without purpose.
  22. Honest Thief
    Perfectly serviceable and utterly forgettable, Honest Thief nonetheless offers a few pleasing details to keep it from being a total slog.
  23. Jay and Silent Bob Reboot
    A spectacularly disjointed comedy that’s only superficially about two foul-mouthed, but well-meaning dopes who light and pass the proverbial torch to the next generation of slackers. “Reboot” is more of an ego trip for Smith, an amiable, creatively frustrated pop artist who survived a major health crisis — one that even he knows he can’t shut up about.
  24. Hotel Transylvania: Transformania
    With its Indiana Jones-style adventure, Hotel Transylvania: Transformania combines monster powers lost and found (love those innumerable wolf cubs), pure joyous silliness, and surprisingly touching insights into family relationships.
  25. Wolves
    Director Freundlich clearly likes to dig in deep with this kind of character material, and here it pays off in ways it really hasn’t in some of his previous feature work (which includes “Trust the Man” and “The Rebound”).
  26. Exit Plan
    If mid-level dank atmospherics attending well-replayed semi-dystopian “dark” mechanics are sufficient to hook you into a genre movie, you’re all set. If you demand better, this won’t do.
  27. The Watchers
    Based on the book by A.M. Shine, “The Watchers” is Ishana Night Shyamalan’s directorial debut, a fabled narrative that seesaws between fantastical whimsy and proposed horrific terror with lots of ambition but little finesse.
  28. Every Secret Thing
    What went wrong? How did so many talented people devote their time and energy to a film that came out this generic, dull, and flat?
  29. Stung
    Until tepid animal-attack flick Stung, I had never thought to wish for a horror movie protagonist to not be rewarded with a make-out session at film's end.
  30. Second Act
    A mishmash that has as much of an identity crisis as its name-switching, past-hiding, resume-inflating main character. Perhaps there is a clue in the credits, where we learn that Lopez is the producer as well as the star. As is so often the case, here that means that the movie is more about what would be fun for Lopez to do than what would be fun for the audience to watch.
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