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:
7549 movie reviews
  1. The one constant of life is change, and our own individual relations to the place we grew up, or came of age, in are invariably complicated not by just the alterations in the landscape but the way our perspectives shift...The Brazilian filmmaker Kleber Mendonça Filho understands this feeling just as well as I and maybe you do, and he’s made a lovely, enveloping film about it, called “Pictures of Ghosts.”
  2. Most of all, [Heder] makes us see and believe in our bones that the Rossis are a real family with real chemistry, with real bonds and trials of their own, both unique and universal just like any other family.
  3. Terrence Malick is one of the producers of Almost Holy, and while Hoover doesn’t go for a full interpretation/realization of his style, there are touches that evoke the director’s work, especially in the film’s last sequence.
  4. For all its miscalculations, this is a personal picture, violent and sweet, clever and goofy. It's as obsessive and overbearing as Steven Spielberg's "1941" — and, I'll bet, as likely to be re-evaluated twenty years from now, and described as "misunderstood."
  5. Beautiful, melancholy and intellectually stimulating, “Dahomey” is a documentary that should be seen by all.
  6. Throughout its majestic 188-minute running time, there is a profound sum of self-negotiation in Turkish auteur Nuri Bilge Ceylan’s The Wild Pear Tree; a slow-burning and unexpectedly humorous character study as reflective and impenetrable as anything in Ceylan’s filmography.
  7. Whatever Jia shows us and wherever he takes us, we’re always aware of being in the hands of one of the contemporary world’s great filmmakers.
  8. Romano’s performance in Paddleton is an incredible work of humor. He creates a character capable of annoying anyone who’s just met him. Many of the movie’s funniest moments allow Romano to play this awkward being to his full, cringe-inducing potential.
  9. A War, as tough to watch as it can be, is an extremely rewarding and disquieting experience.
  10. These moments have a tactile intimacy that’s incredibly powerful, placing these ordinary people in an almost timeless continuum of seemingly ordinary behavior that becomes extraordinary in memory, or through the eyes of a camera.
  11. The film is just as much about politics as it is a family working out the demands of a politically active life with the demands of the home.
    • 70 Metascore
    • 88 Critic Score
    It's a rich, raw, heartache of a film, a beautifully composed, soul-stirring drama about love, family, sex, sorrow, faith, and music.
  12. Director Greg Berlanti, who has helmed a string of hit television shows as producer and writer, uses the familiar teenage romance genre to tell an LGBTQ story, and in so doing makes these tropes feel fresh, fun, entertaining.
  13. While Girl Picture isn’t necessarily breaking any new ground, this sensitively rendered dramedy invites viewers into the world of three young Finnish women on the cusp of adulthood with an affection and mellow sense of humor that makes it a more than agreeable cinematic companion.
  14. Williams and director Dito Montiel are in tune with a pervading sense of tenderness, as the movie distinctly ruminates on connection, not love.
  15. It’s a deceptively well-made flick that appears to be Linklater in little more than his “let’s have fun” mode. But it can’t keep one of the smartest filmmakers of his generation from elevating everything that this movie is trying to do with remarkable depth.
  16. What Our Fathers Did: A Nazi Legacy wields a power that towers above many other small movies. It may not be the large definition of cinematic, but it is still a true film.
  17. Sound of Falling operates like a ghost story, complete with a haunted house, but the ghosts aren’t supernatural. The ghost is history.
  18. It's a stylish and modern action movie that also features some of the year's most satisfying fight choreography and action filmmaking.
  19. Nina Forever subverts audience expectations at every turn and develops the kind of genuine emotional power that keeps it from being just another gory goof.
  20. It’s a puzzle with a few pieces missing; standing back from it, you can still see the picture. But does it give the viewer exactly what they want? See the title.
  21. Like her brilliant 2012 debut feature, “Elena,” which recounted the “inconsolable memory” of Costa’s older sister prior to her suicide, the director’s latest work, The Edge of Democracy, is haunted by loss.
  22. In the meantime, this movie means to make us notice the marvelous in the everyday, in much the way that a great James Schuyler poem does.
  23. Blue Film, through its many frank observations, stands as a vulnerable work about one’s past colliding with one’s present, in a bid to make peace with one’s true self.
  24. Babygirl is a high-wire act. It’s a small miracle the film works as well as it does.
  25. Sometimes its meandering approach can feel a bit more detached than in Trier’s best work, but this is ultimately a delicate, complex film that lingers, unpacking itself in your mind. You remember it in the same kind of fragmented images that haunt its characters.
  26. It feels both remarkably simple and complex at the same time, a vision on which we can place our own interpretations of what it all means instead of being force-fed superficial messages.
  27. A small but wonderful gem of a thriller: A film in which complicated people and a very complicated plot come together in a mechanism that leaves us marveling at its ingenuity.
  28. This film succeeds because it knows how to strike the right balance between laugh-out-loud comedy and quiet, effective drama. The clichés are there, but its heart beats loud enough for us to embrace and forgive them.
  29. The best part of Lars von Trier's fascinating, engaging and often didactic Nymphomaniac is that, despite the sometimes-grim tone and bleak color palate, it's an extremely funny film, playful, even.

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