10 Best Movies Roger Ebert Loved That Everyone Else Ignored

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Roger Ebert didn’t just critique films, he traced the cultural Zeitgeist they embodied and sometimes anticipated. Unlike many other critics who tended to conform, Ebert often took a stand early on. He championed films that defied genre norms, quirky oddities with underlying bite, and avant-garde failures that later proved to be visionary pioneers. Initially, some of his peers might have scoffed, but the audiences and time eventually caught up with him. Ebert didn’t always embrace what was trendy; instead, he admired what lasted.

This list showcases 10 movies that Roger Ebert endorsed passionately, sometimes even when he stood apart from others. Some didn’t do well commercially, some received harsh criticism, and some were simply not understood at first. However, they all eventually found their audience and in certain cases, left a lasting impact. Label them as cult favorites, secret joys, or misinterpreted masterpieces—the point remains: Roger Ebert was correct.

10
‘Dark City’ (1998)

A year prior to the release of The Matrix, the movie Dark City was received with a mix of polite bewilderment. Directed by Alex Proyas and featuring Rufus Sewell as a man with amnesia, wrongly accused of murder in a bizarre, crumbling metropolis, the film intertwined noir elements with existential dread, Kafkaesque paranoia, and gothic aesthetics that appeared to twist time. Critics praised its visual audacity but criticized its complex narrative, branding it as style over substance – a puzzle without an emotional solution. Its reception was mild, with many viewers unsure about Kiefer Sutherland’s unpredictable character or Jennifer Connelly’s melancholic nightclub atmosphere. Despite starting with a man waking up in a bathtub next to a dead woman, it posed more philosophical questions than most audiences were ready to answer.

Before ‘The Matrix,’ There Was the Mind

Roger Ebert quickly identified “Dark City” as something extraordinary: a thought-provoking exploration of identity and free will disguised as a mystery film. He declared it the best movie of 1998, admired its visually poetic qualities, and even recorded an extensive commentary for the DVD version – a rarity among critics. What he perceived, and what many overlooked, was that the film’s disorientation wasn’t a shortcoming but a deliberate choice. Instead of leading you to solutions, it plunged you into the sensation of losing your identity, your memories, and your surroundings. Kiefer Sutherland’s subtle performance is chilling in hindsight, and the city – a continuously changing landscape controlled by enigmatic “Strangers” – foreshadowed not just “The Matrix,” but also Christopher Nolan’s “Inception.” Ebert understood that “Dark City” wasn’t simply a product of its era. It served as a roadmap for what future intelligent science fiction could become.

9
‘This Is Spinal Tap’ (1984)

When Rob Reiner’s “This Is Spinal Tap” debuted, many critics found themselves unsure about how to respond. The mockumentary style was still fairly new, and its dry, absurd humor revolving around a fictional British rock band with amplifiers that went up to 11 left some wondering if it was satire or merely foolish. The cast, which included Michael McKean, Christopher Guest, and Harry Shearer, improvised much of the dialogue, resulting in an astonishing realism that puzzled initial viewers. It had a modest run at the box office but gained more cult status on VHS than during its original theater release. At the time, critics appreciated its charm but mostly failed to recognize the revolutionary ingenuity hidden within its structure: it was both a mockery of documentaries and a nearly flawless portrayal of the illusions of fame.

Mockumentary as Modern Myth

Roger Ebert recognized the movie’s genius right away, praising it as “one of the funniest, most intelligent, most original films of the year.” He appreciated that its humor wasn’t just in the jokes but also in how relatable those jokes felt. The character played by McKean, David St. Hubbins, is not merely a faded rock star, but rather embodies every man who reached his peak too soon and keeps striving to recapture past glory. The film’s pacing, its constructed nature, and its dedication to its concept all foreshadowed a generation of comedy from shows like “The Office” to “What We Do in the Shadows.” Ebert wasn’t amused by the trick; he was astounded by how the movie employed genre to expose human vulnerability. To appreciate “Spinal Tap” is to cherish the sound of an illusion shattering – with flawless echo.

8
‘Medium Cool’ (1969)

Initially perplexing for mainstream viewers and critics alike, Haskell Wexler’s film Medium Cool, shot using the cinéma vérité technique, interwove fictional characters with real-life political occurrences such as the tumultuous 1968 Democratic National Convention in Chicago. This innovative approach erased the boundaries between storytelling and documentary, politics and acting. Robert Forster portrayed a detached news cameraman who started to ponder his role in the events he documented. The film’s non-traditional narrative, raw depiction of racial and social issues, and rejection of fact versus fiction resonated powerfully amidst a year marked by turmoil and cultural change. Some found it fragmented, self-righteous, or puzzling instead.

The Revolution Will Be Unscored

Roger Ebert recognized that “Medium Cool” didn’t aim to be appealing; instead, it sought to encapsulate the raw essence of history. In his initial critique, he described it as “a film of remarkable strength and wisdom,” highlighting how Wexler had essentially pioneered a new form of cinema – one that involved the audience as much as the characters. The scene where Forster’s character steps into a real-life riot, with tear gas obscuring the image, seems more pressing than ever – a reflection on media that was decades ahead of its time. Ebert understood that “Medium Cool” wasn’t a conventional protest film; it was a confession, a camera reflecting upon itself. He recognized that its rough edges weren’t flaws – they were intentional. The narrative wasn’t smooth because the nation itself wasn’t either.

7
‘Beyond the Valley of the Dolls’ (1970)

Under the direction of B-movie maestro Russ Meyer, penned by none other than Roger Ebert himself, “Beyond the Valley of the Dolls” was initially not conceived as a sequel to the Jacqueline Susann adaptation, contrary to its title. Instead, it chronicles the journey of an all-female rock band, the Carrie Nations, navigating their way through fame, decadence, and a whirlwind of psychosexual turmoil in Hollywood. Critics at the time found it repulsive, with the New York Times labeling it as “sick,” and 20th Century Fox distancing themselves from it prior to its premiere. With its abrupt tonal shifts, dialogue reminiscent of drag queens, and vibrant portrayals of violence, the film was criticized for being exploitative, incoherent, morally depraved, and more. However, what most failed to grasp was that “Beyond the Valley” didn’t strive for good taste – it gleefully destroyed it.

Camp Couture with a Satirical Bite

The film was labeled by Ebert as “a satire, a soap opera, a rock musical, an adult film, and a horror movie,” which he saw as praise. He recognized that its strength lay in its disregard for genre boundaries, tone consistency, or social norms. In the realm of Carrie Nations, fame is a drug tainted with gender politics and illusion, and Meyer directs each scene like a vibrant, dream-like hallucination. Dolly Read delivers an captivating lead performance as Kelly, balancing between being vacant and mesmerizing – the ideal focus for a world constructed on projections. Over the years, the movie has gained popularity as a late-night viewing staple, with fans appreciating its chaotic genius and early-Showgirls vibe. Ebert understood that this wasn’t a film for everyone – but for those who resonated with it, it would be extraordinary.

6
‘The Devil’s Rejects’ (2005)

In a critical realm that often viewed horror as the less refined sibling of serious films, Rob Zombie’s sequel to “House of 1000 Corpses,” titled “The Devil’s Rejects,” faced criticism. This gritty, gore-filled road trip movie chronicling the Firefly family’s reign of terror was often labeled as “torture porn” by many critics, who found it excessively violent, sleazy, and overly fond of its own brutality. The film follows the characters Otis (Bill Moseley), Baby (Sheri Moon Zombie), and Captain Spaulding (the late Sid Haig) as they elude a vengeful sheriff across a desolate, morally decayed South. The acting was powerful, the violence unyielding, and any semblance of morality seemed to be in a state of unconsciousness. For critics accustomed to neat storylines and clear-cut villains, this film represented cinematic nihilism — and they were taken aback by it.

Grit, Grime, and Grand Guignol Americana

Instead of just seeing a brutal film, Roger Ebert perceived a deeper layer: he likened “The Devil’s Rejects” to a grisly reinterpretation of “Bonnie and Clyde”, commending it as skilled filmmaking that exuded an unsettling, fearsome influence. He acknowledged that Zombie wasn’t endorsing violence, but rather scrutinizing the gruesome roots of the horror genre. Moseley’s portrayal of Otis is a chilling, almost mythical character, while Sheri Moon Zombie’s Baby uses femininity as a sharp weapon. The film’s aesthetic, a blend of grindhouse and Southern Gothic, resembles a decaying album cover brought to life. Unlike many horror films, Zombie doesn’t seek sympathy; he invites viewers to endure discomfort, to feel the impact of portraying American violence without flinching. Ebert recognized that horror could transcend into high art if one was prepared to gaze upon its painful aspects.

5
‘Evil Dead II’ (1987)

Upon the release of Sam Raimi’s “Evil Dead II” in 1987, numerous critics found themselves at a loss for words. Initially billed as a sequel, the film took on the role of an energetic remake that was more like a gory, slapstick nightmare featuring Bruce Campbell as Ash, an unprepared demon fighter. The movie alternates between scenes of heart-pounding terror and classic Three Stooges physical comedy, transforming blood into a form of artistic expression and pain into jokes. Critics found themselves at odds: some considered it immature, others struggled to follow its sudden shifts in tone, while several overlooked the fact that Campbell was giving one of the greatest physical performances in horror history. At the time, the genre blend of horror and comedy wasn’t yet recognized as prestigious; instead, it was seen as a sign of indecision.

Slapstick Possession and Chainsaw Ballet

Roger Ebert, once again, hit the nail on the head. He awarded Evil Dead II three out of four stars, appreciating its “ferocious elegance” and creativity, likening it to the greatness of The Cabinet of Dr. Caligari. Ebert recognized that Raimi was not careless – he was meticulous, orchestrating each splatter and shriek with the finesse of a twisted ballerina. Bruce Campbell’s Ash character embodies both the final boy and the jester, a hero in a movie where survival is portrayed as a form of artistic performance. The camera spins, the walls drip blood, and time twists – not due to error, but by design. Evil Dead II represents the outcome when a director defies every rule not out of ignorance, but because he understands precisely where the seams are – and how to tear them apart with style.

4
‘The Last House on the Left’ (1972)

Wes Craven’s movie, titled The Last House on the Left, didn’t merely disturb viewers; it shocked them profoundly. This groundbreaking, exploitation-horror film, inspired by Ingmar Bergman’s The Virgin Spring, tells the harrowing tale of two teenage girls who fall victim to a band of criminals, enduring abduction, torture, and death. The parents of one of the victims unwittingly provide shelter to their killers. Critics were taken aback by its brutal violence, lifelike presentation, and jarring contrasts: scenes of comedic musical breaks followed immediately after gruesome depictions of rape and slaughter. It was prohibited in numerous countries, branded as trash, and often written off as a cinematic ordeal lacking emotional release. To most, it seemed like a bleak portrayal on film.

Revenge, Revulsion, and the Radical Edge of Horror

As Roger Ebert, I found myself shaken yet captivated by this film, awarding it a hearty 3½ stars. This unassuming masterpiece, more profound than it appears, is a haunting exploration of grief and revenge that surpasses all expectations.

The raw, authentic style and jarring tonal shifts are not flaws; they’re intentional tools to immerse you in the unsettling reality of the film’s characters. The transformation of the parents from grieving individuals to cold-blooded avengers is more chilling than the crime itself, a testament to Wes Craven’s masterful storytelling.

Beneath its shock value lies an ethical debate – a stark reminder that there’s no easy path between seeking justice and enduring trauma. Decades later, this film’s brutality remains seared into my memory, but so does its unsettling, brilliant brilliance that continues to linger long after the credits roll.

3
‘Sudden Death’ (1995)

Back in the golden age of ’90s action flicks, I stumbled upon “Sudden Death” – a quirky relative to the legendary “Die Hard”. This high-octane thrill ride was helmed by director Peter Hyams and featured Jean-Claude Van Damme as a former firefighter turned unlikely savior. The plot unfurls around a nerve-wracking hostage situation in a Pittsburgh hockey stadium during Game 7 of the Stanley Cup Finals. Critics couldn’t help but raise their eyebrows at the outlandish scenario, which involves our hero battling a mascot in a kitchen. The reviews on Rotten Tomatoes read like a chorus of disbelief. Labeled as predictable and excessive, “Sudden Death” was synonymous with direct-to-VHS power packed with a bloated studio budget.

Zambonis, Zingers, and JCVD’s Soft Eyes

Despite earning 2.5 stars from Ebert, who hailed it as a “splendidly absurd thriller” with style, finesse, and surprising human touch, many viewers saw it as preposterous. However, Ebert appreciated this film as self-aware genre mastery rather than absurdity. Jean-Claude Van Damme, known for his bulging biceps, injected a somber undertone to the role, portraying a man tormented by past failures and desperate to protect his children in a frozen amphitheater. The film’s action sequences, such as the kitchen fight and a finale involving a helicopter crash onto center ice, are magnificently orchestrated chaos. What makes Sudden Death memorable isn’t merely nostalgia; it’s the lesson that action doesn’t always need to be realistic — it only needs to be sincere. Ebert understood the distinction between poor and poetic nonsense.

2
‘Speed 2: Cruise Control’ (1997)

After the dynamic action of the original film “Speed” (1994), it was challenging to create a successful follow-up, especially without Keanu Reeves. Once again directed by Jan de Bont and starring Sandra Bullock as the reappearing character Annie, who inexplicably now possesses boat certification, the sequel replaces a runaway bus with a slow-moving cruise ship that is hijacked by an angry tech antagonist (Willem Dafoe, using leeches). Critics were harsh; they labeled it as overblown, dull, and less convincing than the original, even though it was supposed to be more realistic. It quickly became a joke and remains one of the most frequently mentioned “bad sequels” in popular culture history.

The Art of Sinking Gracefully

Despite earning only three stars from Ebert, he acknowledged that the movie lived up to its intended role as a summer blockbuster, boasting impressive spectacle and Sandra Bullock’s captivating appeal. Daniel Day-Lewis’ performance, a blend of frenzied and alluring, transforms his antagonist into a philosophical cartoon character with a grudge against cruise lines. Jason Patric, portraying the flat love interest, seems overshadowed by the ship’s interior decoration, but this only enhances the film’s quirky appeal. Ebert admired that the film wholeheartedly embraced its own absurdity – it dared, in a comical and sincere manner, to replicate the original’s tension on a floating hotel. He understood that failure isn’t always catastrophic; sometimes, it’s what makes a movie truly memorable. In essence, Speed 2 may not be a masterpiece, but like its villain, it possesses style, dedication, and an unyielding refusal to slow down.

1
‘Paul Blart: Mall Cop’ (2009)

In 2009, the movie “Paul Blart: Mall Cop” premiered, appearing as if it were the last gasp of studio comedy from the mid-2000s. Starring Kevin James as a mall security officer with low blood sugar who navigates a hostage situation reminiscent of “Die Hard,” the film was financially successful but heavily criticized. Critics deemed it simplistic, predictable, immature, and catering to popular tastes. It currently has a dismal 34% rating on Rotten Tomatoes, and for years, it’s been used as a synonym for what happens when physical comedy becomes corporate. It was amusing to mock, and simpler to ignore. After all, can we really take seriously a man who gets trapped in a ball pit while trying to protect New Jersey?

The Kindness of Clowns

Despite Roger Ebert’s aversion to elitism, he awarded the film 3 out of 4 stars, labeling it as “a comedy with a sympathetic lead character.” He recognized something many critics seemed to overlook: that Paul Blart isn’t merely a lighthearted comedy; it’s an unexpectedly heartfelt one. Kevin James portrays Blart not as a punchline, but as a man with respect and sorrow, someone yearning for recognition in a world that often fails to see him. The film avoids mocking his vulnerability, instead allowing him to triumph without ever losing authenticity. In Ebert’s opinion, this was the film’s essence. Paul Blart: Mall Cop isn’t so much about heroics as it is about resilience – about discovering strength in compassion and finding amusement in embarrassment. It may not be high art, but it’s genuine comfort. And at times, that’s exactly what we’re searching for.

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2025-04-26 23:06