RogerEbert.com's Scores

  • Movies
  • TV
For 3,177 reviews, this publication has graded:
  • 56% higher than the average critic
  • 2% same as the average critic
  • 42% lower than the average critic
On average, this publication grades 1.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Alien: Covenant
Lowest review score: 0 But Always
Score distribution:
3177 movie reviews
    • 68 Metascore
    • 63 Critic Score
    This Quake delivers with skill. The build-up to the disaster nicely intensifies with a feeling of dread, and some of the subtlest early effects are the most powerful.
  1. There is an undeniable neorealist quality to Labaki’s work, bringing to mind not only the first half of Garth Davis’ "Lion," but also the likes of Vittorio De Sica’s "Shoeshine" and Sean Baker’s "The Florida Project" (even though it falls short of the artistic command of these titles).
  2. It's a simple thing but if it's not the first film to show World War I taking place under heavenly blue skies it certainly feels like it is. The odd clarity is a horrible but absolutely necessary gift from Jackson and Walsh to these men.
  3. But it looks great, right? Not really. Directed by Christian Rivers, a longtime art director for Jackson, the overall look asks the question, “are you sick of Steampunk yet,” and for me, yeah.
  4. All the pieces would seem to be in place—on paper at least—for a rich and gripping grown-up drama. So why does the result feel so elusive and unsatisfying?
  5. Most of its strength emerges from a well-directed ensemble, one able to convey the high concept of a nightmarish situation without losing their relatable humanity.
  6. Those not on the Deadpool bandwagon already will probably not be converted by this version and those who are fans may find it to be a vaguely interesting curio they'll watch once.
  7. It would seem like an impossible feat, but somehow, directors Bob Persichetti, Peter Ramsey, and Rodney Rothman have breathed thrilling new life into the comic book movie. The way they play with tone, form and texture is constantly inventive and giddily alive.
  8. Not much has changed for people of color, which probably wouldn’t surprise the author. And yet, he’d demand we not give up. This film powerfully conveys that message. The struggle is real, but so is the joy. We live, we laugh, we love and we die. But we are not gone. Our story continues, carried onward by our storytellers.
  9. While Nona does eventually reward audience members with stark drama grounded in a daily nightmare, it risks cheating itself of its full impact, pretending for most of its running time to be a fairytale it certainly is not.
  10. Not all tearful screaming sessions translate well from the page to the screen, and this is an excruciating example of overkill.
  11. A gentle low-key comedy.
  12. Throughout Clara’s Ghost you can’t help but think that you’re watching a quaint home video that would appeal to the members of the subject family only — the unnecessary square aspect ratio certainly doesn’t help with the amateurish feel of the whole thing.
  13. Amid all the jaw-dropping tales of bullying behavior, there is a constant and almost mordant acknowledgement of the one thing that Ailes was scarily right about: that no public official will ever again be elected “without the skillful use of television.”
    • 53 Metascore
    • 88 Critic Score
    There’s a makeover montage in Dumplin’, and it’s a lulu. It is overseen by drag queens who specialize in doing Dolly Parton, and it doesn’t get any more extra than that. Like so much in this film, this makeover comes with a refreshingly smart, funny, wise, and warmhearted twist.
  14. Hedges’ film is stronger in its first half, when it’s an understated character drama, than in its second half, when it morphs into a contrived crime thriller. But the performances remain uniformly strong and hold the story together, even as it threatens to spin out of control.
  15. The film is an onslaught, sometimes silly, sometimes profound, but always riveting and emotional, and dazzlingly sure of itself.
  16. Rourke, who comes to the film industry from the theater, has an eye for pageantry and staging that make even dull conversations about power struggles feel lively.
  17. So listless and dry that the only jolt of electricity I experienced was when the screener blew up seven minutes before the end. The half hour I spent fighting with the Magnolia Pictures website was more suspenseful and interesting than anything I saw in their product.
  18. A sharply crafted drama that has elements of noirish suspense, the Danish-Swedish coproduction, which is distinguished by exceptionally fine performances by its three leading actors, offers an incisive, penetrating look at the psychological disorientation and dilemmas of people caught between cultures.
  19. The makers of The Possession of Hannah Grace clearly intended for it to be dark. After all, it’s about an exorcism that goes horribly wrong, resulting in further mayhem months later at a morgue. But they probably didn’t mean for it to be visually inscrutable, which is what this quick and dirty — and mostly scare-free — horror film ends up being.
  20. DriverX is worse than just one of the year’s most vapid movies, it’s an out-and-out nightmare of late-stage capitalism.
    • 18 Metascore
    • 38 Critic Score
    The movie's promise collapses under the weight of inconsistent characters and a generic, cliché-ridden plot.
    • 38 Metascore
    • 38 Critic Score
    The action/competition scenes have some dynamism, but the overall look of the film is unimaginative.
  21. 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.
  22. I dislike much of Mirai because most of the film's Kun-centric scenes (which take up 90% of the movie) are split between the character's un-imaginative daydreams and his full-blast fits.
  23. It isn’t a bad movie as much as a dead one, never managing to click in the way all involved presumably hoped it would.
  24. It’s one of those rare horror movies to leave you with good holiday cheer.
  25. At a daunting 188 minutes long, Never Look Away takes its time, doesn't force its themes. Like one of those novels that follows a family through multiple generations, Never Look Away follows Kurt from Dresden, to Düsseldorf, to Berlin.
  26. Easily among this year’s finest films and laced with an unapologetic social message, Happy As Lazzaro dares one to imagine a reality where each individual would task themselves to be as selfless and morally whole as its main protagonist. If only.

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