RogerEbert.com's Scores

  • Movies
  • TV
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:
7549 movie reviews
  1. Black Bear is ambitious for itself in its many layers of meta, but the observational moments of behavior is where the film soars. Writer/director Lawrence Michael Levine has created a highly self-conscious work that comments on itself and then comments again. Levine's sense of humor is one of his saving graces, and that's particularly true here. This is a disturbing film, and much of it is unpleasant, but it's also very, very funny.
  2. There are conflicts in Princess Cyd, but they're on a low boil. One of the pluses of Cone's approach — if you're open to it — is you are sometimes confronted with your own preconceived notions about people.
  3. It’s full of pure, unadulterated love for “The Greatest,” so much so that the viewer can’t help but get enveloped in its adoration.
  4. This film does not scold us; it is hopeful.
  5. With these scenes highlighting growth and resilience, Time refuses to be some kind of tragedy porn. Sibil and her brood demand justice, not pity. Her strength carries the film and elevates her sons toward success.
  6. Filmmaker Zeina Durra’s entrancing, languorous Luxor wonders about the allure of the backward gaze and the uncertainty inspired by an unknowable future, and co-stars Andrea Riseborough and Karim Saleh are practically perfect in this thoughtful romance.
  7. Suffused with fantastical elements, dreamlike sequences and hallucinatory images, A Fantastic Woman stars Daniela Vega, a trans actress, and her performance roots the film in a kind of intimate verisimilitude.
  8. Despite the fact that you’ve heard these songs countless times in a variety of settings, these inspired incarnations will make you feel like you’re experiencing them for the first time, just as Moby Doc as a whole breathes thrilling new life into a safe and conventional genre.
  9. The Godfather Coda does seem different, thanks largely to how he opens and closes the film. Overall, this version feels even more elegiac—a true coda instead of just another part of the same story.
  10. Like its subject has done so many times in his six-decade career, this one exceeds expectations.
  11. A powerful and entertaining film about a gang of girls, and what friendship means, the protection it provides.
  12. It feels like this material could have been a bodice-ripping melodrama in less intuitive hands. But "The Promised Land" has control of its narrative.
  13. The Forty-Year-Old Version is brimming with sharp but often understated humor and a deep experience of making art.
  14. Alternately sad, violent, and dryly funny.
  15. Fashioned out of fresh faces unable to lie to the camera, “Playground” is a study in human behavior wrapped in equal parts fear and curiosity.
  16. To the credit of the filmmakers, 76 Days has been made in such a skillful and gripping manner that even those suffering from COVID news fatigue will find themselves caught up in it.
  17. It's hard to write about In Jackson Heights without sounding like you're trying to write poetry.
  18. A high-concept animated film about animals with superpowers is brought to vibrant, endearing life by the superpowers behind the scenes: lively voice talent from an all-star cast, a script that is smart, exciting, and very funny, and, above all, the ability to tap into one of humanity’s deepest emotions, our love for our pets and theirs for us.
  19. Pulling back the curtain to see how Carrol Spinney "does it" is not only a revelation of technique but a reminder of just how brilliant he is as a puppeteer and as an actor.
  20. This is a movie of vision and integrity made on an epic scale, a series of propositions dramatized with machinery, bodies, seawater and fire. It deserves to be seen and argued about. They don't make them like this anymore. Never did, really.
  21. More than just your standard horror/comedy, The Wolf of Snow Hollow is a tonal balancing act, a movie that doesn’t go for laughs or horror as much as weave various tones and styles through its excellent script. I thought Cummings was a talent to watch after “Thunder Road,” and now I’m sure of it.
  22. A tougher, smarter film than American sci-fi cinema buffs are used to seeing.
  23. Some will argue that all of the themes of “undertone” don’t connect, but that’s a feature, not a bug. This is a film that doesn’t feel the need to explain itself. Nightmares rarely do.
  24. What Megan Park has done with “My Old Ass” is so authentic and thoroughly winning that she breathes new life into a familiar genre.
  25. 20 Days in Mariupol, about the first 20 days of Russia's invasion of Ukraine, spares no one's sensibilities. It goes on a short list of great documentaries that the viewer will never want to watch again and likely won't need to because some of the images are so gruesome and the context so upsetting that they'll be burned into your memory.
  26. Director Jan Komasa’s film — nominated this year for the international-feature Oscar — may feel a tad slow at times, but Bielenia is never less than totally compelling.
  27. Like all of Petzold’s recent pictures, Afire draws you in confidently and prepares its knockout emotional punch with scrupulousness and a vivid sense of surprise.
  28. Body feels downright old-fashioned: a thriller with tension that doesn't stem from gore, jump scares, or other cheap shock tactics, but rather a creeping dread that grows with each red herring, and slow-burn plot twist.
  29. Morris' direction offers other filmmakers a template for how to make a small movie that feels big, just by making definitive choices and sticking to them.
  30. Although events unfold amid a gorgeous pastoral setting with rolling green hills and leafy trees, there is a silent starkness about this countryside that suggests Ingmar Bergman’s use of natural surroundings.

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