For over 40 years, Roger Ebert was an iconic presence in film criticism. His extensive knowledge of cinema and relatable writing style endeared him to numerous readers and audiences alike. Ebert provided reviews for thousands of films in the Chicago Sun-Times, with many of his critiques available on RogerEbert.com from 1967 until his passing in 2013. Throughout this period, Ebert co-hosted the popular show At the Movies alongside Gene Siskel and later Richard Roper, from 1986 to 2008. If you viewed a film during that era, there’s a good chance Ebert reviewed it and assigned it a star rating out of four. This includes comic book adaptations, a genre that struggled to satisfy both fans and critics alike until the late 1990s, often falling short of expectations. While Ebert expressed disdain for many comic book films, he also celebrated those that resonated with him.
Beloved: Superman (1978) Set the Benchmark
Bringing Superman to the big screen was no simple task, but the filmmakers persevered until they achieved a remarkable result. Superman (1978) became a groundbreaking film upon its release, not the first superhero movie but certainly the one that showcased the genre’s potential for grandeur. Its revolutionary special effects, coupled with stellar performances and a captivating score, set a high bar for future films. Contemporary superhero movies, including the forthcoming DCU Superman installment, owe a significant debt to this 1978 classic. Ebert cherished the film, placing it as the sole comic book entry in his “Great Movies” list, frequently referencing it when discussing later superhero films. He appreciated that despite its lavish budget and cutting-edge effects, Superman (1978) retained a genuine spirit, infused with “wit.” Ebert noted, “The audience finds itself pleasantly surprised and a little off guard; the movie’s tremendously exciting in a comic book sort of way (kids will go wild for it), but at the same time, it has a sly sophistication, a playful insight into the material, that makes it, remarkably, a refreshingly quirky comedy.”
Disliked: Constantine’s Reputation Has Evolved
In an early scene from 2005’s Constantine, the titular character and his doctor examine X-rays, a moment that doesn’t bode well for a superhero narrative. Initially receiving mixed reviews, Constantine has experienced a resurgence in popularity over the past two decades, garnering a cult following that has led to a sequel in the works. Keanu Reeves disclosed in February that DC Studios has approved a storyline and script for the next installment. However, Ebert was not impressed with the original film, criticizing its portrayal of Hell as reminiscent of a “post-nuclear Los Angeles created by animators suffering from a hangover.” He also expressed skepticism about the battle between good and evil, contending, “You would think that God would be the New England Patriots of this contest, but apparently, there is a chance that Satan could win.”
Adored: Superman II Enhanced Humor and Character Dynamics
The Superman franchise made a pivotal choice to infuse Superman and his alter ego, Clark Kent, with more human emotions than previously depicted. Superman II capitalized on this approach, delving into the unique relationship between Clark and Lois Lane. Despite a change in director during production and various rewrites, the 1981 sequel nearly matched the success of its predecessor. Ebert noted that Superman II replicated the last ninety minutes of the original film, which ultimately proved beneficial. He praised the sequel’s comic elements, highlighting the evolving bond between Clark and Lois, particularly in a scene where Lois tests Clark’s heroism by risking her life in Niagara Falls. Ebert remarked, “All I can say is, Clark does not turn into Superman,” using this moment to illustrate their relationship while emphasizing that “the whole film has more smiles and laughs than the first one.”
Criticized: Teenage Mutant Ninja Turtles II: The Secret of the Ooze Faltered
What kind of superhero is a reptile dwelling in sewers, led by a rat, consuming cold pizza, and born from radioactive waste? The Teenage Mutant Ninja Turtles’ cinematic journey began with a solid start in 1990, which Ebert deemed “probably the best possible Teenage Mutant Ninja Turtle movie.” However, its sequel, Teenage Mutant Ninja Turtles II: The Secret of the Ooze, marked a decline. Ebert, who had initially given the first film a fair assessment, took a harsher stance on its sequel, expressing concern over its influence on young viewers. He criticized the characterization of the turtles, suggesting that their entire identities seemed to be distilled into their methods of violence, lamenting, “It’s as if the whole sum of a character’s personality is expressed by the way he does violence.”
Celebrated: Dick Tracy’s Bold Visuals and Characters
“Dick Tracy” stands out as a quintessential example of stylized filmmaking, employing matte drawings, miniatures, and optical effects to create a world that defies reality. This 1990 film, inspired by the detective comic strip created by Chester Gould in 1931, brought to life a wide array of grotesque characters with fitting nicknames. Ebert hailed the film as “one of the most original and visionary fantasies I’ve seen on a screen,” applauding its meticulous attention to detail in capturing the essence of Dick Tracy, including his iconic yellow coat and shallow personality. Ebert also commended Al Pacino for his role as the villain Big Boy Caprice, highlighting the character’s complex portrayal of evil, stating, “Unlike most of the villains of modern movies, he does not flaunt his evil but is ashamed of it, and this Victorian trait makes him more interesting.”
Rejected: Kick-Ass Emphasized Youth Violence
Will I come off as overly conservative if I deem “Kick-Ass” morally unacceptable, and will I seem to have missed the film’s essence? Despite its passionate fan base and relatively favorable reviews, Ebert found fault with the violence depicted in Kick-Ass. The film, which marked a breakthrough for Chloë Grace Moretz as Hit-Girl, featured a cast that included Aaron Taylor-Johnson, Christopher Mintz-Plasse, and Nicolas Cage. Kick-Ass spawned a sequel in 2013, with a new trilogy currently in development. Ebert acknowledged the film’s satirical intent but expressed concern regarding its impact on impressionable children, stating the film “regards human beings like video-game targets. Kill one, and you score. They’re dead, you win.” He did, however, commend Moretz for her undeniable presence and appeal, concluding with, “Then the movie moved into dark, dark territory, and I grew sad.”
Appreciated: Spider-Man 2 Explored Peter Parker’s Inner Conflicts
Spider-Man 2 is regarded as one of the finest superhero films ever, crafted with skill and depth that keeps viewers engaged throughout. Released during a time when superhero films were becoming increasingly commonplace, Sam Raimi’s Spider-Man 2 stood out for its emotional complexity and character-driven storytelling. Ebert described it as “a superhero movie for people who don’t go to superhero movies, and for those who do, it’s the one they’ve been yearning for.” He emphasized that Spider-Man 2 transcended the genre by focusing on the human experience behind the hero, stating, “The movie demonstrates what’s wrong with a lot of other superhero epics: They focus on the superpowers and short-change the humans behind them.”
Disliked: Elektra Suffered from an Identity Crisis
Jennifer Garner struggled to find coherence in her role as Elektra, a film that garnered renewed attention with the recent resurgence of the Daredevil franchise. Released as a spinoff of the 2003 Daredevil film, Elektra was both a critical and commercial failure, even earning the distinction of being the lowest-grossing Marvel film at the time. Garner herself described the film as “awful.” Ebert lambasted Elektra, stating that it “plays like a collision between leftover bits and pieces of Marvel superhero stories,” lamenting its inability to establish a clear tone. He also critiqued its action sequences, asserting, “The movie’s fight scenes suffer from another condition, attention deficit disorder,” as the shots were too brief to allow for effective choreography.
Admired: Sin City Merged Style with a Compelling Narrative
Directed by Robert Rodriguez and co-created with Frank Miller, Sin City remains a strikingly vivid film that captures the essence of a graphic novel through its unique black-and-white aesthetic, punctuated by splashes of color. Ebert recognized Sin City as a film that prioritized style over conventional storytelling, yet he praised its anthology format, which presented three distinct narratives rather than one continuous plot. He noted, “It contains characters who occupy stories, but to describe the characters and summarize the stories would be like replacing the weather with a weather map,” highlighting the film’s complexity and visual appeal.
Dismissed: The Spirit Failed to Live Up to Miller’s Previous Works
The Spirit, directed by Frank Miller, is often remembered for its lack of emotional depth, filled with exaggerated visuals and forced dialogue. Based on the comic strip character created in the 1940s, the film featured Gabriel Macht as the titular character and Samuel L. Jackson as the villain. Ebert opened his review with a striking critique, stating, “’The Spirit’ is mannered to the point of madness. There is not a trace of human emotion in it.” He further asserted that the characters lacked substance, comparing them unfavorably to those from Miller’s earlier successful adaptations, which at least possessed some level of narrative and enjoyment.
Celebrated: Batman Begins Redefined the Franchise
After a prolonged hiatus, the Batman franchise found new life under the direction of Christopher Nolan, a filmmaker celebrated for his innovative storytelling. Following acclaimed films such as Memento and Insomnia, Nolan ventured into the comic book realm with Batman Begins, which sought to present a more grounded and human portrayal of the iconic character. Ebert praised the film, stating it was “the Batman movie I did not realize I was waiting for, because I didn’t realize that more emphasis on story and character and less emphasis on high-tech action was just what was needed.” The film’s gritty realism and departure from the glossy style of previous adaptations established a new standard for future Batman films.
Criticized: Catwoman Failed to Impress
When discussions arise about the worst superhero films, Catwoman frequently surfaces as a prime contender. Despite starring Halle Berry in the titular role, the 2004 film fell flat, failing to deliver a strong narrative or character development. Ebert acknowledged that the film exploited Berry’s charm, yet lamented that “everything else is secondary, except for the plot, which is tertiary.” He criticized the lack of chemistry between Berry’s character and her love interest, and described the supporting characters as one-dimensional, suggesting that they merely posed rather than interacted meaningfully.
Admired: The Dark Knight’s Joker Left a Lasting Impression
In comic book cinema, it is customary to maintain a certain distance from the action, yet “The Dark Knight” breaks through this barrier, engaging its audience on a deeper level. Christopher Nolan continued the Batman saga with The Dark Knight, which is widely regarded as one of the finest superhero films ever, thanks in large part to Heath Ledger’s haunting portrayal of The Joker. Ebert recognized Ledger’s potential for a posthumous Oscar, which he ultimately received. Describing Ledger’s Joker, Ebert stated that he was “a Mephistopheles whose actions are fiendishly designed to pose moral dilemmas for his enemies,” and noted the depth and complexity of the character’s dialogue, which provided insight into his motivations.
Criticized: Fantastic Four (2005) Set a Low Bar for the Franchise
While I approached “Fantastic Four” with the intention of entertainment, I found it hard to engage with a film that presented its characters as indifferent toward their own extraordinary circumstances. With the impending release of The Fantastic Four: First Steps in 2025, fans are hopeful for a revitalization of the franchise as it joins the Marvel Cinematic Universe. However, the 2005 film remains a low point for Marvel adaptations, despite some nostalgic value, such as Chris Evans’ early appearance as Johnny Storm. Ebert’s review did not hold back, criticizing the characters’ lack of enthusiasm for their newfound powers, remarking, “Are these people complete idiots? The entire nature of their existence has radically changed, and they’re about as excited as if they got a makeover on ‘Oprah.'” He further asserted that the plot was undermined by its unwieldy cast, failing to make any of the characters compelling.
Appreciated: Iron Man Launched a New Era for Superhero Films
Ultimately, Robert Downey Jr. was the driving force behind the success of Iron Man, which is now recognized as a culturally significant film. The National Film Registry has inducted only a few comic book films, including Iron Man, for its impact on cinema and popular culture. Iron Man marked the beginning of Marvel Studios’ dominance in the summer blockbuster arena for nearly 17 years. Ebert praised Downey’s portrayal of Tony Stark, highlighting that he brought depth to the character: “You hire an actor for his strengths, and Downey would not be strong as a one-dimensional mighty-man.” Ebert elaborated, “He is strong because he is smart, quick, and funny, and because we sense his public persona masks deep private wounds. By building on that, Favreau found his movie, and it’s a good one.”
Criticized: Thor (2011) Underperformed in Ebert’s Eyes
It may come as a surprise to see 2011’s Thor rated poorly by Ebert, especially since he rated its sequel, Thor: The Dark World, more favorably. While Thor was never hailed as a standout in the Marvel Cinematic Universe, many fans enjoyed its introduction of the character. Ebert, however, was far less impressed, arguing that the film lacked excitement and substance. He asserted, “‘Thor’ is a failure as a movie, but a success as marketing, an illustration of the ancient carnival tactic of telling the rubes anything to get them into the tent.” He criticized the dialogue and the story, suggesting that Thor was “not an interesting character” and expressing confusion over its positive reception on review aggregators.
Adored: Watchmen (2009) Offered Intricate Depth
Watchmen is a visually captivating film that combines sound, imagery, and character depth to create a unique experience reminiscent of a graphic novel. Before the rise of the “Snyderverse,” Zack Snyder had already made a name for himself in the comic book genre with his adaptation of 300. His experience was evident in Watchmen, a film that Ebert described as complex, admitting he may not have grasped all its nuances, but still felt a powerful impact. Ebert appreciated the flawed nature of the characters, stating, “The Watchmen and their special gifts are all the better able to see how powerless they really are, and although all but Dr. Manhattan are human and back the home team, their powers are not limitless.”
