RogerEbert.com's Scores

  • Movies
  • TV
For 7,548 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:
7548 movie reviews
  1. There’s too much story to tell in a feature runtime, so parts of The League feel like they’re just skimming the surface. But what a fantastic surface it is.
  2. The result is a work in which style and story unite to create a singularly mesmerizing look at a culture within a culture.
  3. Even though Wetlands is absolutely, brutally unrelenting in its depictions of bodily functions and searching adolescent sexuality, it’s also an inventively sharp, briskly edited, spectacularly-acted post-adolescent coming-of-age story.
  4. Let It Be Morning is a quiet film that builds to a powerful ending.
  5. While this documentary doesn’t rise to the level of his masterwork “Exterminate All the Brutes,” the pain and anger, resolve, and courage that Peck captures in Silver Dollar Road make it a complex, intense document of the persistence of Black existence in a world hell-bent on erasure.
  6. The Graduates is a reflective movie, an emotional story without telling you how to feel, only that for many people across the country, learning to live with grief can be just as important as planning for the future.
  7. Deserves to become a serious art-house hit in the U.S. thanks to its skill in deftly overcoming the form’s usual deficits, for a result that feels as amazingly cohesive as it is relentlessly clever and entertaining.
  8. 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.
  9. The commentary in this film has more affection than insight.
  10. Green continues to establish herself as an insightful chronicler of the minor yet devastating terrors of violent masculinity that many women endure everywhere they go.
  11. Provides a rich, extraordinarily fascinating account that’s sure to have many viewers’ minds constantly shuttling between then and now, noting how different certain things about politics and media were in that distant era, yet marveling at how directly those archaic realities led to many of our own.
  12. Under Potrykus’ clever direction and with a striking performance from Joshua Burge, Marty goes from quirky to desperate to dangerous gradually and effectively. He’s not a character to be taken lightly, or quickly forgotten.
  13. As delightful as it is surprising. The surprises begin with the fact that the Iranian master’s last work is, of all things, essentially an animated film.
  14. At every turn magnifying the dramatic power of this story is Newton, an actress of exceptional grit and grace who’s capable of communicating more emotion in a single, simmering look than many pages of dialogue could exposit.
  15. The result is something deeply reflective about femininity, culture, commerce, friendship, sexuality and the various souls who dwell in the impossible intersection of it all.
  16. They (Assayas/Stewart) have managed to out-do themselves with a work as mysterious, moving and haunting as anything that has materialized in a movie theater in a while.
  17. It is an educational journey, an uncompromising look into the challenges of an artistic life, and a tribute to the man whose studio and dance company still bear his name.
  18. The premise is innately powerful and offers a lot of room to bring the world beyond the arena into the arena, expanding the horizon of the sports picture. There isn’t anyone anywhere who can’t relate to “Tatami” on some level, even if they’ve never competed in sports.
  19. You may think you know where it is going. And maybe you're right. But how the film gets there is a very different matter.
  20. In every way, this quietly majestic film should be considered a triumph.
  21. Much of the movie is dedicated to the hard science behind the discovery of CRISPRs that has opened a whole new Pandora’s Box of possibilities both terrible and great, but I wish there were more of the human element in Human Nature.
  22. Delivering an unforgettable breakthrough performance, Abita is phenomenal in pitching Lyz on the slippery slope between an adult wannabe and a little kid, boldly wearing even the smallest nuances of her character’s rapidly shifting emotional world on her resolute face.
  23. It is an infuriating reality that The Hunting Ground exposes. I was rattled watching it, finding it hard to catch my breath and harder still to imagine how many people are in positions of power who have heard these stories so many times and turned their backs on victims.
  24. So while the subject of “Prosecuting Evil” is a 4-star one that should be taught in more schools, the sometimes-dry and often-repetitive film about it is a 3-star one.
  25. There are traces of Woody Allen at work here as While We’re Young vividly makes fun of a specific subculture of hyper-articulate New York denizen, as well as the way its characters try to stave off the malaise of aging by clinging to characters who radiate the exotic promise of youth.
  26. Yuasa's adaptation of Furukawa’s book is half-thrilling and half-underwhelming.
  27. Inspired by tales of people on the fringe by Mike Leigh, Sean Baker, and the Safdie Brothers, “Urchin” stays committed to presenting Mike’s story without frills, recognizing that it’s just a tragically common one of a man spiraling down the drain of society.
  28. Where “Black Lives Matter” has become a rallying cry in the U.S., Jonas Carpignano’s sharply crafted Mediterranea voices a counterpart for African immigrants in southern Italy: “Stop shooting blacks!”
  29. If the film is a touch more emotionally muted than one would expect, that is because Jones spends the vast majority of the film holding it together.
  30. This is a drama that prizes journalistic or documentary values, as well as the "epic naturalism" of films by directors like Terrence Malick and Chloe Zhao in which the camera might be as interested in flowing water, a sunset, a flock of birds, or a line of silhouetted horses as in whatever the characters are doing or saying.

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