RogerEbert.com's Scores

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For 2,866 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 0.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Inside Out
Lowest review score: 0 Literally, Right Before Aaron
Score distribution:
2866 movie reviews
  1. The film's nature as a work of propaganda would be more deplorable—or at least eyeroll-inducing—if it weren't so poorly blocked, scripted, performed, and choreographed. There is no joy in Seagal-ville, dear rubber-neckers, because pretty much everybody here has struck out.
  2. There may one day be a great movie made about John Gotti. This one ain’t it.
  3. Habits are hard to change; sadly, the people who are most likely to seek out a movie like Eating Animals are already on board with its message.
  4. Alexandre Moors’ film is also so lacking in anything new or compelling to say — either emotional or political — about its subject that it ends up a rather dispiriting slog of a movie.
  5. It's satisfying, for the most part—a solid romantic comedy with sharp dialogue, amusing characters, a soundtrack of well-worn feel-good hits, and a few surprises up its sleeve. Its only major flaw is an inability to imagine the bosses as richly as the leads.
    • 60 Metascore
    • 50 Critic Score
    If only the film’s visual vividness had also colored the inner lives of its protagonists; a lively group we sadly forget about before they reach their on-screen potential.
  6. Tag
    It’s a lazy, vulgar celebration of White Male American Dumbness—one that only put an African American in the cast to camouflage just how much of a celebration of White Male American Dumbness it is.
  7. SuperFly is visually flat, relying too much on oft-repeated motifs of rap videos rather than the ingenuity I expected. By the fourth time someone “made it rain” around strippers or executed a gory shoot-out, I gave up on potentially seeing something new.
  8. Incredibles 2 understands something that most family sequels, even the Pixar ones, fail to comprehend—we don’t just want to repeat something we loved before. We want to love it all over again. You will with Incredibles 2.
  9. 211
    I guess the “Black Hawk Down” comparison derives from the many gaping wounds the characters and the extras suffer. I don’t know where the rest comes from; because all told this effort is a cavalcade of crap. Loud crap.
  10. A documentary with a defeated spirit, but with fleeting glimmers about why the oppressed keep playing.
  11. Believer works best as a series of perpetually escalating confrontations.
  12. While Westwood is certainly a remarkable personal and cultural figure in many senses, it’s too bad she’s not more willing to discuss the genesis of punk, since it’s likely to remain the primary thing she’s known for.
  13. En el Séptimo Dia makes its points powerfully, even more so since the set-up is so simple. Even better, its third act is as thrilling as anything in a traditional sports movie. McKay's control of tone and rhythm is in high gear, creating a work both thought-provoking and hugely entertaining.
  14. Documentaries that rely on a steady stream of talking heads—interspersed here with fleeting film clips—usually are not my favorite. However, when those heads belong to talented and perceptive women who rarely get a chance to speak their minds let alone get hired to make a movie, I can definitely make an exception.
  15. Nancy exhibits a seriousness of purpose that’s rare in American movies today.
  16. Hearts Beat Loud could use more urgency in the telling, more sense of what is at stake for the characters.
  17. One of the many “stand up and cheer” moments in Morgan Neville’s enchanting documentary, at least for me, is when cellist Yo-Yo Ma describes his first meeting with the man who will forever be known as the proprietor of “Mister Rogers’ Neighborhood.” “He scared the hell out of me,” says Ma.
  18. While originality may not exactly be in great supply here, these familiar elements have been mixed with enough wit and style to make for some sleazy, insanely violent, and reasonably entertaining B-movie trash.
  19. Creepy beyond belief, Hereditary is one of those movies you shouldn't describe in detail, because if you do, it will not only ruin surprises but make the listener wonder if you saw the film or dreamed it.
  20. Slickly paced and radiating sexy glamour, “Ocean’s 8” moves with the swagger of a supermodel prancing down the runway.
  21. Believe it or not, Action Point in 2018 feels too safe. There’s way too much plot and even the stunts that gave Knoxville concussions feel routine. It’s not unlike seeing a once-great athlete attempt a comeback. There are flashes of what once worked, but it’s also a little sad.
  22. In spite of his low-key ambitions, debut filmmaker Simon Baker doesn’t yet have the eloquence as a director to get you on board.
  23. The film desperately tries to be wild and out of control, but it ends up as more of a slapdash portrait of cartoony desperation than any sort of realistic depiction of millennial angst when it comes to current-day female lifestyle choices.
  24. Would you enjoy a movie where Warren Buffet robs a bodega — and kicks the bodega cat for good measure? Because that’s what American Animals feels like.
  25. Rodin is no plain biopic, and it certainly doesn’t require knowledge of his work to get hooked on the film. It’s in fact best when it does away with historical details and feels like a film about an artist and their art form, who just happened to exist.
  26. Tackles the tricky topic of gender dysphoria with sensitivity and grace.
  27. An irresistibly gory science-fiction melodrama, is B-movie schlock done right.
  28. It's not just a story of an incredible feat of survival. It's also a love story, presented with the subtlety of a sledgehammer.
  29. Director Young shoots his unimaginative opus with an eye of getting all the value of the gore makeup department’s work on screen. In this respect, he does a bang-up job. As for everything else, well, this movie does answer the question “What if Eli Roth’s ‘Cabin Fever’ had zero sense of humor?” very satisfactorily.

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