RogerEbert.com's Scores

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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
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  1. Small Engine Repair
    Small Engine Repair is little more than 103 minutes of a would-be provocation whose only real advantage is that it's ultimately too dopey to be as offensive as it clearly could have been. It has nothing of note to say about the issues it pretends to raise, though it does try to say them as loudly and as pseudo-colorfully as possible.
  2. Rim of the World
    Its greatest value is probably in how it could educate budding movie-lovers on cheesy and predictable storytelling, but even that seems like a lesson Rim of the World cynically teaches at an elementary level.
  3. RoboCop
    The main thing wrong with Robocop is that it's dumb, and it's trashy, and it's both of those things in a not-good way.
  4. The House
    In theory, these actors should be able to just show up, be themselves, tap into their formidable improvisational abilities and let the laughs flow freely. In reality, though, movies require scripts. They require actual characters and dialogue and narratives that evolve in ways that are logical, or at least engaging.
  5. Death Note
    Several of the changes to Tsugumi Ohba and Takeshi Obata’s brilliant manga have already been widely reported, including the whitewashing of the entire project by relocating it from Japan to Seattle, but those are just the symptoms of a greater disease known as complete creative bankruptcy.
  6. Wedding Palace
    Bills itself as the first-ever Asian-American romantic comedy. But it's so chock full of the usual clichés and conventions of the genre, it could have been any movie over the past 20 years that you've seen and then promptly forgotten that starred Julia Roberts. Or Kate Hudson. Or Jennifer Aniston. Or Renee Zellweger.
  7. Bushwick
    The movie’s main feature is a group of long-take, moving-camera action scenes that I guess might have been more engaging had the characters on the run and in battle been figures you wanted to spend any time with. They’re not.
  8. The Son
    Most of the power of these moments comes from our strong feelings about the issues, not from what we see, as the screenplay is superficial and manipulative.
  9. Clerk
    Watching Smith's buddies pay him heartfelt tribute is one thing, but that doesn’t make spending so much time (115 minutes???) with his fawning co-conspirators feel much less oppressive.
  10. Blithe Spirit
    Edward Hall’s new adaptation of Noël Coward’s play Blithe Spirit is so aggressively un-funny it might make audiences unfamiliar with the script's successful track record wonder why it was ever a success in the first place.
  11. Dear Evan Hansen
    It’s an emotionally manipulative, overlong dirge composed of cloying songs, lackluster vocal performances, and even worse writing.
  12. Heart of Stone
    It’s an overly calibrated hodge-podge of better movies with absolutely no original thought of its own, populated by stock characters, and brought to life with uninspired filmmaking.
  13. After The Fall
    There’s a rather disturbing sense of privilege in After the Fall. It can’t help but justify Ben’s actions by stacking the deck against the victims.
  14. The Color of Time
    The Color of Time has considerable ambition, but no inner life.
  15. Dear David
    Dear David is branded content—uninspired and hollow to a fault—and perhaps that’s even more disturbing than a five-year-old internet ghost story.
  16. Brightburn
    A machine to deliver gore and violence, Brightburn also features some of the most improbably and even hatefully dumb salt-of-the-Earth type characters in a recent American horror movie. But even if you watch Brightburn knowing that it doesn't have much going for it beyond a few disturbing kill scenes, you will still be disappointed.
  17. Disturbing the Peace
    A dull-as-dishwater, paint-by-numbers cinematic hiccup with no discernible reason for being.
  18. Me Him Her
    Me Him Her might look cool on the outside, but it's a vapid mess.
  19. The Host
    For a tale of mystery and intrigue, The Host provided neither.
  20. Misconduct
    “We tell ourselves stories in order to live,” Joan Didion once said. And yet, watching Misconduct, a twisty but exceptionally bone-headed—one might even say cretinous—legal thriller, sitting through its story hardly felt like “living.”
  21. The Angriest Man in Brooklyn
    It all leads up to some very bad green-screen work depicting a dangerous traipse around the Brooklyn Bridge, and reaches a sort of epiphany with a view of a floating carousel. Yes. It is very much that kind of movie.
  22. Back Roads
    Not all tearful screaming sessions translate well from the page to the screen, and this is an excruciating example of overkill.
  23. VHYes
    I didn't see what was funny about the shallow wackiness of VHYes.
  24. Hangman
    A cheapo “Seven” knock-off that one would be tempted to suggest is beneath the talents of everyone involved, but they knew what they were getting into when they read it.
  25. Outcast
    Aside from providing an object lesson in how Chinese film financing forces some rather remarkable storyline convolutions into generic international action pictures, Outcast provides nothing of interest.
  26. White Men Can't Jump
    The film is as unimaginative as it is corny, as dull as it is cheap, and as unfulfilling as any cash grab for a well-known property could be.
  27. 12 O'Clock Boys
    A thin, problematic and amateurishly-made documentary, 12 O'Clock Boys plays like two films awkwardly grafted together.
  28. Boy Kills World
    The makers of “Boy Kills World” don’t trust their audience enough to let us just feel a feeling, nor do they encourage their enthusiastic cast members enough to deliver fully-developed performances.
  29. Darkness Falls
    Clichés are already shorthand, so when you shorthand the shorthand, assuming audiences will just take the leap into whatever "reality" you are trying to create, you end up with a cop-thriller like Darkness Falls: a bizarre series of cliché after cliché, with no real work done to fill in the blanks with complexity, nuance, or even basic human reality.
  30. Charlie Countryman
    Every now and then, one comes across an indie film that's so showily awful, so drenched in bathos and cliché, and yet features such a uniformly sharp cast that you have to wonder: "What is it with actors?" Or, if one already knows what it is with actors, "Did this material actually look good on paper?" The heavy-sigh-inducing Charlie Countryman is just such a motion picture.
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