RogerEbert.com's Scores

  • Movies
  • TV
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:
7545 movie reviews
  1. By the time we get to Ashe’s AIDS-related activism, and the horrible way USA Today twisted his arm into revealing his diagnosis, Citizen Ashe has taken us on a complex, sometimes infuriating tour of its subject’s life. It begins with the birth of an athlete, then morphs into the creation of an activist. The transition is so subtle that you only realize it after the film ends.
  2. But for as much writer/director Biancheri pumps copious ideas into this concept, the solemn tone and lack of thematic focus renders the overwrought outing underwhelming.
  3. The contrast between the edgy, high-energy songs and the thinly-drawn characters and predictable storyline will make it of most interest to viewers young enough to be unfamiliar with the formulas it never transcends.
  4. In the end, I was left feeling like The Scary of Sixty-First was all set-up and no follow-through. Sure, it gets bloody and crazy in ways that will probably turn off some viewers, but it doesn't feel feel like it has something to say about our conspiracy theory culture.
  5. By inviting viewers to share in the most private of transformative periods for his family, Max Lowe scaled the Mount Everest of the soul, creating a cinematic gift that cuts to the heart in ways few films ever do.
  6. Try Harder! is a charming dark comedy with a light touch, with part of its self-deprecating humor right there in the title.
  7. Most viewers will find themselves wishing that writer/director Patrick Ridremont had come up with a few variations on this standard theme in order to liven up this competently executed but painfully familiar genre exercise.
  8. There are points early in this documentary where you might wonder if it really needed to be a feature (one can imagine a cut-down "60 Minutes" piece doing the job just as effectively) but when Lane gets away from the man himself and focuses on the details of the business of music, a new frontier of understanding opens up.
  9. It’s a powerful piece of work that details how communities on the edge of lawlessness and poverty were overwhelmed by drugs in the ‘80s and ‘90s, leading to cycles of addiction and violence that can become impossible to escape. It’s not an easy watch, but it’s a moving one.
  10. After the story of the Tulsa Massacre entered the national consciousness because of Damon Lindelof’s “Watchmen” and Misha Green’s “Lovecraft Country,” Dreamland: The Burning of Black Wall Street this Memorial Day feels like the first time that the voices of the victims have finally been heard.
  11. This movie shows us the teamwork, the dedication, the national pride, the astonishing vistas, and the reason that Purja and his team deserve to be as renowned as Sir Edmund Hillary, maybe more.
  12. Paul Thomas Anderson’s golden, shimmering vision of the 1970s San Fernando Valley in Licorice Pizza is so dreamy, so full of possibility, it’s as if it couldn’t actually have existed.
  13. Similar to how Pixar’s Coco paid tribute to Mexican culture, Encanto holds many nods to its Colombian roots, from the use of flowers and animals specific to the regions to crafting songs that incorporated their respective countries’ musical palette.
  14. 8-Bit Christmas may have a more grounded approach to gamer culture than you'd expect, but it’s constantly beat by its own limited imagination.
  15. At times the movie feels like Hereditary without the supernatural elements and gore. It's a psychological horror movie about the ordinary miseries and compromises of family.
  16. It’s in the climbing sequences that the movie’s animation is at its most imaginative, creating effects both exhilarating and harrowing.
  17. A thoughtful and tearful ride in which the destination is a spiritual confrontation with oneself, Drive My Car devastates and comforts through its vehicular poetry of the sorrow from which we run, the collisions that awaken us, and the healing gained from every bump in the road.
  18. It's depressingly easy to chart where this film is going to go and who's going to make it to the inevitable sequel. There’s one thing a great horror game can never be (and something one couldn’t really accuse the Anderson movies of being either): predictable.
  19. A Boy Called Christmas is a resplendent Santa Claus origin story with a star-filled cast, sumptuous visuals, and some melancholy details to keep it from being too sugary.
  20. Writing with Fire is a powerful piece of work, although it moves at a mostly slow and steady pace.
  21. This is three movies in one, each of which is progressively worse.
  22. Watching Smith's buddies pay him heartfelt tribute is one thing, but that doesn’t make spending so much time (115 minutes???) with his fawning co-conspirators feel much less oppressive.
  23. Scott’s soapy epic—his second cinematic outing this year after the superior (and also partly campy) “The Last Duel”—isn’t exactly a bore, thanks to a number of its actors (like Leto) unafraid to lean into the film’s kitschy tone as well as some fearless moments—like one sensationally go-for-broke sex scene—that meet them at that amplified level.
  24. There are endless horror movies out there in which a slow burn seems like it's just killing time before it's actually time to kill. But "The Feast" does well with that dread—it's the main course that proves to be the rip-off, however gory, indulgent, and horror-ready it is.
  25. It’s an easy watch in a B-movie marathon but you’ll have forgotten it by the time you’re done with the Thanksgiving leftovers.
  26. There is, nevertheless, something to be said for a documentary that tries to do something different and perhaps impossible, even if it doesn't quite get there. And in the end, any flaws or missed opportunities are subsumed by the movie's sincerity and wealth of insight.
  27. Pleasant but unchallenging.
  28. Miranda, who starred as Larson in a theatrical performance of this play, directs the film with a deep understanding of the passion, struggle, and ebullience of an artist committed to an art form that requires a lot of money and a lot of other people to be brought to life.
  29. Ferrara’s filmmaking always has a blunt elemental force and conviction. It doesn’t quite transcend the commonplace aspect of what he’s trying to “say.” And yet transcending isn’t the point—doing is. This is not just guerrilla filmmaking, it’s a kind of action painting. A literal journey to the end of the night.
  30. It’s a stunning showcase for the great character actor Frankie Faison, who conveys Chamberlain’s confusion and terror with palpable empathy and honesty.

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