RogerEbert.com's Scores

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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:
  1. Positive: 4,942 out of 7548
  2. Mixed: 1,248 out of 7548
  3. Negative: 1,358 out of 7548
7548 movie reviews
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  1. Twilight of the Warriors: Walled In
    Unbound by physics or any sense of psychological realism, “Twilight of the Warriors: Walled In” is also probably the best comic book adaptation you’ll see this year, featuring a murderer’s row of Hong Kong stars like Louis Koo, Aaron Kwok and Sammo Hung, and featuring the sort of intricate maximalist production design that puts most other blockbusters to shame.
  2. We Feed People
    It’s refreshing to see an account of a famous food guy who doesn’t wallow in his own character defects.
  3. 2040
    This film does not scold us; it is hopeful.
    • 77 Metascore
    • 88 Critic Score
    Thelma
    Needless to say, the whole film rests on June Squibb's shoulders. She brings to the part 78 years of acting experience, which is a joy to watch.
  5. Waitress: The Musical
    The show is smoothly staged before an appreciative audience, with well-chosen theatrical touches.
  6. Love Lies Bleeding
    A few of the daringly ambitious punches don’t completely land, especially in a frenetic final act, but it’s a minor complaint for a film that confirms that Glass is a major talent with an uncompromising vision.
  7. Fanatical: The Catfishing of Tegan and Sara
    Despite making the case that celebrities are complex human beings just like the rest of us, this documentary lacks a human touch.
  8. Girls State
    Like its predecessor, this film is perceptive about these impressive young women who display dedication, seriousness of purpose, and genuine public-spiritedness.
  9. Calvary
    This is the kind of movie that galvanizes and discomfits while it’s on screen, and is terrific fodder for conversation long after its credits roll. Even if you are neither Catholic nor Irish, this Calvary will in no way be a useless sacrifice of your moviegoing time.
  10. Suzume
    There are key elements of Suzume that directly speak to the history of Japan and the fears of its people, but Shinkai’s gift is his ability to make the issues of trauma and anxiety feel like everyone’s. “Suzume” isn’t quite the masterpiece that is “Your Name” but I wouldn’t blame anyone for falling in love with it.
  11. Apples
    In his first outing as a feature filmmaker, Nikou blends subtle comedy and tragedy to create a quietly moving cinematic experience.
  12. People's Republic of Desire
    Wu takes an observational, matter of fact stance to these different lives and this overall enterprise, reminiscent of how Kyoko Miyake took us through the looking glass of Japan’s idol culture in “Tokyo Idols,” another doc on a similar sociological beat that would make for a great double feature or essay.
  13. Keep On Keepin' On
    Hicks avoids the traditional bio-doc route by turning Keep On Keepin’ On into more than just CT’s story, chronicling how the legendary musician continues to inspire young artists to this day.
  14. The Hunt
    This is thematically rich material; unfortunately, like a few too many dramas from the past decade, The Hunt resists expressive uses of style, opting instead for gently bobbing handheld camerawork. It's an actor-friendly approach.
  15. Road Diary: Bruce Springsteen and the E Street Band
    Road Diary: Bruce Springsteen and the E Street Band isn’t looking to put a new spin on a familiar artist. It wants to rotate, spinning round and round from A-side to B-side to back again until the sense of mortality at the heart of this tour becomes as unshakeable as the music itself.
    • 77 Metascore
    • 75 Critic Score
    A Touch of Sin
    It's not a pretty picture, but it's a compelling one.
  17. The Beguiled
    Gorgeously shot by Philippe Le Sourd (in his first collaboration with Coppola), The Beguiled lingers on its images, allows us time to settle into them.
  18. Winter Kills
    It has not lost an iota of its power to shock, amuse, and simultaneously perplex viewers. If anything, it seems to have grown even bolder with age in its willingness to take on sacred cows in the craziest manner imaginable.
  19. On the Adamant
    This is a soft-spoken but ultimately powerful work that makes the case for the importance of empathy in treating those with mental illnesses, and makes you hope that programs like the one depicted here will one day become the norm.
  20. The Heiresses
    Emotions never before experienced come surging to the surface. How Martinessi pulls this off — in what is his first feature — is nothing less than extraordinary.
  21. The Mustang
    The Mustang becomes an emotional powerhouse in its final act.
  22. Presenting Princess Shaw
    This entertaining narrative documentary is very firmly in the ferment/fervency/fulfillment camp.
  23. La Flor
    Watching La Flor is like being on the last legs of a road trip with a group of people you’ve grown increasingly alienated from. Look at the happy artists, they’re having fun playing with themselves; good for them, can I go home now?
  24. Clara Sola
    This is Mesén's debut feature film, and it's a powerful and intuitive piece of work.
  25. Philomena
    Most of its pleasures come from the way it confounds expectations.
  26. First Love
    Though it has a tight course of events and is spiked with a few surprises, First Love is far more impressive for how it collides its many characters than what it ever feels for them.
    • 77 Metascore
    • 75 Critic Score
    The Immigrant
    If we can accept it on its own terms, The Immigrant has many moments of exceptional power and rare delicacy.
  28. Don't Call Me Son
    The director has said that the “classical” (her word) style of the earlier film, with its elegant, distanced compositions and paucity of camera movement, is typical of her work; the ragged, edgy, mostly handheld approach of Don’t Call Me Son (flawlessly executed by cinematographer Barbara Alvarez) is a departure.
  29. The Amusement Park
    Whatever the Lutherans thought they were paying for, they accidentally unleashed our most deeply cynical artist at the height of his ferocity toward the country's decaying morality, and wound up funding one of the most upsetting films of the '70s.
  30. Detroit
    Detroit was directed, written, produced, shot, and edited by white creatives who do not understand the weight of the images they hone in on with an unflinching gaze.
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