RogerEbert.com's Scores

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For 7,545 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: 4,939 out of 7545
  2. Mixed: 1,248 out of 7545
  3. Negative: 1,358 out of 7545
7545 movie reviews
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  1. Under the Fig Trees
    Though Sehiri’s third feature offers a seemingly minor concept, it’s certainly bountiful in its power to unearth the unspoken codes that reign over this community, where some men demand reverence from women solely for their gender-based status in the social hierarchy, where the notion of absolute loyalty to one’s extended family guides every decision, and where romantic companionship remains mostly transactional.
  2. Sometimes I Think About Dying
    Sometimes I Think About Dying feels like it needs one more "act" to complete its arc. It's an unfinished bridge. The film attempts an eventual catharsis, but there's just not enough information to get us across the river. We're left hanging.
  3. The Peasants
    The story overstays its welcome eventually, with the impending tragedy that would conclude the film fizzling as a result.
  4. The Seeding
    Writer/director Barnaby Clay successfully keeps viewers on our toes, even if a lot of his movie feels like a series of programmatic jabs at our complacence.
  5. Miller's Girl
    Within the muchness of it all, there are both occasionally thrilling moments and too little in terms of substance.
  6. Suncoast
    Suncoast joins a more forgettable crop of teen movies, lacking plausible character development and sufficient depth to make its themes resonate.
  7. 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.
  8. The American Society of Magical Negroes
    It lacks form, edge, politics, coherency, and the grand vision necessary for vast world building. It’s a film that begins on volatile ground only to tumble down a tonally rocky hill before settling on a conclusion so emotionally dissonant that its clang rings louder than the minor laughs the film engenders during its bloated run time.
  9. The Greatest Night in Pop
    The good news is that it largely breaks the trend of mediocre rock docs through specificity, being at its best when it’s granular in the process of the recording, including some lyrical near-misses, some personality conflicts in the room, and even one participant who liked a bit too much wine.
  10. Frida
    It’s as if the film doesn’t trust Frida’s images to speak for themselves.
  11. Inside the Yellow Cocoon Shell
    Pham Thien An’s contemplative drama “Inside the Yellow Cocoon Shell” blurs the line between surrealism and realism, faith and loss in a subdued search for purpose in the wake of a tragedy.
  12. Sunrise
    Generic dialogue and lack of character depth kills the sometimes promising “Sunrise,” which works best when it has a grit that reminds one of the best vampire flicks of all time, “Near Dark,” but that doesn't happen nearly enough.
  13. The Kitchen
    Even with the world-building and direction making for an immersive experience, at times the script gets tangled in its own complexity and “The Kitchen” bites off more than it can chew.
  14. Founders Day
    A couple of pedal-to-the-floor melodramatic twists suggest that “Founders Days” might’ve been a bolder or just meaner genre movie, but its toothless satire, like its timid horror drama, sadly doesn’t cut it.
  15. The Breaking Ice
    Chen is influenced by the French New Wave, and there are echoes of "Bande à part" and “Jules and Jim.” But do not let the meandering series of scenes, underscoring the characters’ aimlessness, allow you to overlook Chen's precision in even the smallest detail.
  16. I.S.S.
    It is an efficient thrill ride, running about 90 minutes, with every moment used as effectively as possible.
  17. Mean Girls
    Ultimately, the film is a vinegary cautionary tale, an angry screed against being mean for meanness sake, and a love letter to teens who are comfortable just being themselves. This time around it seems Fey and co. actually made fetch happen.
  18. Lift
    Lift is as generic and forgettable as its title, the kind of glossy, empty action picture that Netflix just keeps pumping out, whether we need it or not.
  19. Role Play
    An action comedy with feeble fight scenes and little laughs creates a film that feels more like a screen test than a finished product.
  20. The Settlers
    The Settlers is not just an account of historical events, it's a national reckoning with a barbaric past. The fact that The Settlers is shot with such piercing beauty intensifies its message.
  21. Destroy All Neighbors
    Ray and his co-stars’ easy chemistry makes you want to hang out with Will, if only to see where the plot twist takes him. “Destroy All Neighbors” wouldn’t really work without that essential playfulness; the fact that it works at all suggests that Ms. Lee and her team are the movie’s real MVPs.
  22. Driving Madeleine
    The viewer might strap themselves in for some life lessons. “Driving Madeleine” does serve them up, sure, but the film, written and directed by Christian Carion, is a lot more than a sentimental journey.
  23. Apolonia, Apolonia
    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.
  24. Inshallah a Boy
    Although the script, from Al-Rasheed and co-writers Delphine Agut and Rula Nasser, is at times overstuffed and its symbolism obvious, its world is so well built out and Palestinian actress Mouna Hawa’s lead performance is so absorbing, the final result is a mesmerizing piece of personal, yet political filmmaking.
  25. I Did It My Way
    I Did It My Way exemplifies the current state of mass-oriented Hong Kong genre cinema, leaning hard on its seasoned cast to both remind viewers of better movies and carry this one around the bases fast enough that you still get your money’s worth.
  26. The Beekeeper
    It's a real shame that "The Beekeeper" isn't the righteous trash masterpiece that it keeps threatening to turn into. There's a great pop hit in here somewhere—probably one that focused exclusively on Adam and the awful people he's going after. But the film is scattered and annoyingly glib at times.
  27. The Book of Clarence
    The Book of Clarence, the religious epic by multi-hyphenate talent Jeymes Samuel, is a handsomely crafted picture that simply loses the plot.
  28. Self Reliance
    It’s a little too “Garden State” in places, but Johnson smartly puts a grim enough layer on their dynamic to avoid turning the whole thing into a treacly rom-com.
  29. Salaar: Part 1 – Ceasefire
    There’s no question that Neel’s the key to Salaar’s success, so it’s hard to get too upset for his reminding us with every italicized, bolded, and underlined flourish.
  30. Night Swim
    Producers Jason Blum and James Wan, both horror titans, once again show they know how to freak audiences out while maintaining a sly sense of humor.
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