RogerEbert.com's Scores

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For 3,077 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
Score distribution:
3077 movie reviews
  1. Making good absurdist cinema is a lot tougher than good absurdist cinema makes it look. This movie, a stab at absurdism that results in a swampy wallow in affectation, testifies to this fact with sad eloquence.
  2. Chomko’s grandmother was diagnosed with Alzheimer’s disease, and she takes great effort to recreate a sense of that unique kind of pain, where the person’s memories are lost but they are standing in front of you.
    • 64 Metascore
    • 75 Critic Score
    Draper wrote, directed, and co-stars as their mother and the lovely score was composed by their musician father, Michael Wolff.
  3. Unlike Kahn’s acclaimed and much tidier 2003 documentary “My Architect,” The Price of Everything has a meandering nature and explores one too many avenues in building a thesis, while losing the viewer in the midst at times.
    • 82 Metascore
    • 75 Critic Score
    The film’s most affecting moments are when Murad speaks directly to the camera.
  4. Galveston is the film equivalent of a familiar, not too special song that's been brilliantly re-arranged and performed.
  5. A brilliant genre exercise, a cinematic study in tension, sound design, and how to make a thrilling movie with a limited tool box. The film’s own restrictions actually amplify the tension, forcing us into the confined space of its protagonist.
  6. The strength of Mid90s lies in its small observations about a very tight sub-culture, and what that sub-culture provided its most devoted adherents.
  7. The gloomy turns in her film accumulate to such an extreme outcome in the end that you inevitably start raising your eyebrows to the contrived narrative. In that, Sadie shares its protagonist’s most defining attribute — a frustratingly manipulative nature.
  8. As relatively handsomely mounted as this movie is, it’s also kind of a shambles. Had I not read a press release about it prior to attending its New York screening, I would not know who the damn thing was even about until a whole half-hour in.
  9. This thematic concern with disingenuous allies isn't subtly expressed, but it is compelling for a while, especially given the movie's high-concept premise.
  10. It's an emotionally exhausting film — but a little bit of perspective might have resulted in an even more politically urgent document. As it is, though, The Sentence is the beginning of a conversation that needs to continue.
  11. Not unlike “Mandy,” some of both halves feel self-indulgent, and I’m not sure Apostle quite justifies its 130-minute running time, but you have to say this about it: It’s like nothing else you could include in your annual Halloween horror marathon this year.
  12. Both scrupulous and fittingly hazy, Gyllenhaal captures her character’s outsider-ly state-of-mind with astonishing depth, through the subtlest of details in the way she carries herself.
  13. He’s a fascinating cinematic creation and a pronouncement of a major talent in Jim Cummings, the star, writer, and director of the SXSW Grand Jury winner, Thunder Road.
    • 67 Metascore
    • 88 Critic Score
    Writer/directors Hannah Marks and Joey Power have made an intimate little drama that feels fresh because the diagnosis turns the usual love story upside down.
  14. The Oath seems to build to that moment where Haddish grabs the screen and takes control. But when her big scene comes, it’s completely unsatisfying and muted, a missed opportunity floating among other missed opportunities.
  15. It’s an unfortunately apt demonstration of what can befall a clever filmmaker who gets too clever.
    • 53 Metascore
    • 75 Critic Score
    The special effects are still top-notch and it is a pleasant little scare-fest for the Halloween season.
  16. It’s almost too pretty in a self-consciously artful way, and that overriding aesthetic suffocates the underlying truth of the lead actors’ performances.
  17. The objective seems to be to make you feel, by the end, as if you've walked a million miles in Neil Armstrong's boots. On that score, judged solely as a spectacle, First Man has to be considered a success — especially if you see it in IMAX format.
  18. This is Everett's first film as a director, and there are times when it shows. But what he brings to the table - as a director, writer, and actor - is his intuitive "take" on Oscar Wilde and the performance alone makes this riveting and revelatory viewing.
  19. 22 July is at its most engrossing and moving in its depiction of one brave kid, a victim of Breivik who was shot five times and lived, and that kid’s eventual resolve to face the terrorist in court.
  20. Malevolent is far from perfect — it kind of sabotages a solid first hour with a clunky, tone-changing climax more likely to leave you queasy than scared — but it’s still better than A) a lot of theatrically-released horror films and B) a lot of Netflix original films.
  21. As tough as the subject matter may get at times, the film is guaranteed to be an uplifting one for viewers of all ages, with its emphasis placed on the joy of its subjects, whether it be in their everyday life or in the midst of their creative process.
  22. There are vikings in this movie, and there is destiny. Pure to its junky intentions, if you like your movies served to you without confusion as to the character or their narrative arc, here it is: The destiny of a viking.
  23. Unfortunately, director Johnny Kevorkian and screenwriter Gavin Williams not only put their Beanstalk-high concept to ill use, but also fail to keep their drama compelling on a scene-to-scene basis.
    • tbd Metascore
    • 75 Critic Score
    Gold is one of the few disabled people, and the first wheelchair-using woman, in the Directors Guild of America and her film has two obvious aims: to look to the past, and provide an overview of 120 years of portrayals of disability onscreen, and to look to the future and discuss how they can be improved. It succeeds in both.
  24. It’s not a groundbreaking piece of work, and I wish it embraced its indie, Hartley-esque roughness a bit more instead of trying to be too polished in the final act, but it’s always nice when a movie with little to no buzz sneaks up on you like this one did for me.
  25. A Finnish ensemble comedy about a wannabe black metal band, is probably the only film you'll see this year with a crowd-surfing corpse. Don't let the last part of that sentence dissuade you from seeing Heavy Trip: it's a real crowdpleaser.

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