RogerEbert.com's Scores

  • Movies
  • TV
For 3,723 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 0.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 The Grand Budapest Hotel
Lowest review score: 0 Death of a Nation
Score distribution:
3723 movie reviews
  1. Though it’s still not entirely successful, I’m glad this version exists. Coppola’s restoration has turned a hot mess into a noble failure.
  2. Is the human brain built to absorb so much of "the world"? How do we filter anything? Matt Wolf's new documentary, Recorder: The Marion Stokes Project, is an interesting meditation on these ideas, as well as a character study of a fascinating news-junkie with a mission.
  3. Landsman’s film is enraging for all the right reasons, and more than a few wrong ones as well. It comes off as more of a puff piece than an exposé.
  4. Warrior Queen is not the first movie about this subject to be helmed by a woman — “Manikarnika” was co-directed by star Kangana Ranaut — nor does it feature a stand-out performance like those other movies do (Ranaut is very good in “Manikarnika”). So while I suppose you could do worse than The Warrior Queen of Jhansi, I know you could do better.
  5. The cooking scenes comprise the best moments in this episodic film.
  6. It takes great effort to find what interested director Wash Westmoreland and company in the source material in the first place, but it feels like a project that reaffirms something I’ve long argued: just because something works in one medium doesn’t mean it will in another.
  7. As a whole, The Good Liar is not quite good enough to deserve the comparisons to the works of Alfred Hitchcock it's clearly aiming for, though it is just good enough to suggest what Hitchcock himself might have done with it on a second pass.
  8. It’s certainly like nothing else you’ll see this year.
  9. The Report is also surprisingly free of tension, given the subject matter; if you’re going to experience any anxiety, it’ll probably come from a sense of worry over whether all of this is going to be on the final exam.
  10. In watching so many films in a given week, month, or year, it’s rare to find one that sustains its thrills throughout its runtime, matches its gorgeous imagery with a compelling story, and defies easy categorization. Mati Diop’s haunting narrative feature debut Atlantics is one such movie. It’s unlike few other movies you’ll see this year or possibly this decade.
  11. Of course, the clothes are great: racks of shimmery, sequined knockouts and rows of fierce pumps. And it wouldn’t be a “Charlie’s Angels” adventure without a variety of wild costumes for the ladies to don for their undercover assignments as well as an assortment of high-tech gadgets.
  12. Damon is superb in the kind of role he excels at: a man of integrity who gets steered off the path and is subsequently righted. Lest all of this sound heavy, I should assure you that Ford v Ferrari is exactly as fun, maybe even more fun, than its well-put-together trailer makes it out to be.
  13. It's worth seeking out for the way it observes psychologically complex small-town characters struggling to endure present-day hardships and past traumas.
  14. As a type of origins tale Noelle has plenty of charm—the kind that makes a Christmas story not just simply amiable, but worth a look.
  15. Lady and the Tramp scratches an itch for dog lovers and may satisfy the young viewer’s curiosity when digging through the family’s new Disney+ subscription. However, so much of the movie is just fine when not feeling rushed or stilted, but doesn’t offer new surprises to stand on its own.
  16. As a bland addition to the already low-stakes tradition of Xmas rom-coms, Let It Snow could use a whole lot more tinsel.
  17. Granted, the movie does feature a few endearingly goofy scenes where Cage acts like Humphrey Bogart, with sweat on his brow, a stogie in his mouth, and a haughty putdown for anybody who makes eye contact with him. But he basically already did that in Paul Schrader’s underwhelming 2016 Ed Bunker adaptation “Dog Eat Dog.”
    • 46 Metascore
    • 50 Critic Score
    Cold Brook's obvious good intentions lend it a sweetness that cannot make up for insurmountable problems. The script, co-written by director and star William Fichtner, is under-imagined, with the characters overlooking the most obvious options and an overall framework we might charitably describe as outdated.
  18. Aside from a rock-solid performance by Thomas Jane as the grizzled cop, Crown Vic, which is named after the Ford model car that is the default of the LAPD black-and-white, has very little to offer the discriminating moviegoer.
  19. The goofy and charming Klaus probably plays better if you don't know going in that it's a Santa Claus origin story.
  20. Intercutting interviews with Marcos and her son with archival footage and other experts on the Marcos regime, Greenfield has put together her best film yet.
  21. It doesn’t help that neither Yeoh nor Thompson play a character that remotely resembles real people in a film that only brushes over the anxieties of immigrants in the still-early days of Brexit.
  22. Playing With Fire tries to be tasteless and crass but also treacly and cheery. It wants to you go: “Ewwww …,” but also: “Awwww ...” You’re more likely to groan, then look at your watch again.
  23. Shia LaBeouf wrote the script, and based it on his own childhood. This means he is, in essence, playing his own father. The performance is so good, so in-the-trenches, it feels like it's an act of channeling rather than mimicry or even imitation.
  24. The overabundance of CGI is one of the bigger problems with Midway because, far too often, it feels like you’re watching a video game or an F/X highlight reel.
  25. The best thing about Flanagan’s film by some stretch is the work by Rebecca Ferguson. The director of “Gerald’s Game” and “Hush” proves again to be a very capable filmmaker when it comes to directing actresses, getting Ferguson’s career-best work to date.
  26. All these “what incredible irony!” moments are designed to…well, I’m not quite sure. The movie’s final line, an appropriation of the dying words of a black man killed by police, is an exploitative and cheap reversal that legitimately addresses precisely nothing.
  27. The look of buried terror and resentment in Hawke's eyes tells the deeper story. Still, Adopt a Highway wanders ("Ella" is just the first chapter) and the redemption narrative isn't so much heavy-handed as it is super-imposed.
  28. Unless you are a L.S. Lowry fan of the highest order, the only reason to sit through Mrs. Lowry & Son is to watch actors as strong as Timothy Spall and Vanessa Redgrave going toe-to-toe for 90 minutes.
  29. American Dharma is a frustratingly hollow look at Bannon that is ultimately so benign in its portrayal of the man that it comes closer to an example of fan service than a full takedown.

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