20 Celebrated Movies that Roger Ebert Didn’t Particularly Love

There’s a very high chance that if you like reading about movies, you’ve heard of the late Roger Ebert. The Illinois-born reporter worked for the Chicago Sun-Times from 1967 until his passing in 2013, and from early on in his career as a writer, he became famous worldwide for always having something to say about movies. No matter how big or small they were, Ebert always made sure to argue the heck out of his controversial takes with a simple opinion and admirable prose that made him a friendly connoisseur of movies. In 1975, he became the first film critic to win a Pulitzer Prize.

But like all critics, Ebert was sometimes too harsh when it came to audience favorites. Sure, he liked genre films, but there were times when Ebert’s remarks about highly celebrated films weren’t as friendly as everyone expected. It’s not like his views hurt the film in any way, but it was strange how he could influence a viewer’s opinion.

As the following list proves, sometimes Ebert didn’t agree with audiences and other critics, but also with the passage of time, which can sometimes redeem films. Ebert made others change their minds; he also did it himself when he shifted his opinion on films like The Godfather Part II, Full Metal Jacket, and Blade Runner, but in the case of the following, he never revised his opinion. These are the highly-celebrated films that beloved film critic Roger Ebert didn’t exactly love.

The following list may contain minor spoilers.

20 Gladiator (2000)

Roger’s Rating – 2/4

Ridley Scott’s historical drama, Gladiator, tells the story of Roman general Maximus Decimus Meridius as he goes through a horrific ordeal when his leader and mentor Marcus Aurelius dies, and his son seizes the throne. Commodus, Aurelis’ murderous and betraying son, kills his own father and takes the power. When Maximus even flinches at rebelling, Commodus kills his family and banishes him. Maximus swears revenge and eventually arrives as a gladiator who will stop at nothing until killing the violent and unjust new emperor.

While the film garnered critical acclaim and actually won the Oscar for Best Picture in 2001, Ebert wasn’t exactly a fan of the film. In his review of the film, Ebert claimed the film suffered from its art direction and was heavily overshadowed by its gloomy cinematography and murky special effects. To quote him, “Gladiator lacks joy. It employs depression as a substitute for personality, and believes that if the characters are bitter and morose enough, we won’t notice how dull they are.” It’s only curious to imagine what Ebert would have thought at the mere idea of this one getting a sequel. You can stream Gladiator on Paramount+.

Watch the trailer for Gladiator here.

19 The Usual Suspects (1995)

Roger’s Rating: 1.5/4

The Usual Suspects tells the story of U.S. Customs Agent Dave Kujan, as he interrogates one of two survivors of a horrible massacre. The other one lies terribly burned in a hospital bed. Roger “Verbal” Kint is questioned by Kujan in regard to the events that led up to the fire that ended up with a handful of victims, and the escape of a crime lord called Keyser Söze. Through a flashback narrative, Kint sheds light on the mystery behind a botched heist that started with a random encounter in a police lineup. The film’s mostly known for having one of the greatest twist endings of all time.

The film won two Oscars. One for Best Original Screenplay (Christopher McQuarrie) and one for Best Supporting Actor (Kevin Spacey). But Roger wasn’t a fan. In fact, this is one of the cases in which he openly discussed his lack of interest in the film early on, and wasn’t exactly willing to revisit it. He indicated the plot was confusing, and that it wasn’t even compelling to begin with.

His review includes the following words: “The first time I saw The Usual Suspects was at the Sundance Film Festival, and when I began to lose track of the plot, I thought it was maybe because I’d seen too many movies that day. Some of the other members of the audience liked it, and so when I went to see it again, I came armed with a notepad and a determination not to let crucial plot points slip by me. Once again, my comprehension began to slip, and finally I wrote down: ‘To the degree that I do understand, I don’t care.'” You can stream The Usual Suspects on Tubi.

Watch the trailer for The Usual Suspects here.

18 A Clockwork Orange (1971)

Roger’s Rating: 2/4

Stanley Kubrick’s epic crime film, A Clockwork Orange, takes audiences to a futuristic version of Britain. Laws seem to be only a suggestion in this dystopia of crime and violence. Alex and his friends have formed a gang of “droogs,” who indulge in a bizarre use of dialect and wreak havoc everywhere. However, Alex gets caught and is sentenced to prison. That’s when his journey truly begins, as he’s subjected to strange experiments that aim to change his behavior and neutralize his violent outbursts.

This time, Roger seems to have been in line with most critics from back in the day, as the very controversial A Clockwork Orange was panned by critics and divided audiences due to its extreme violence. However, the Academy nominated it for four Academy Awards, including Best Picture, Best Adapted Screenplay, and Best Director. Ebert’s take on the film was almost too loud, as he expanded on the nasty character that is Alex and Kubrick’s apparent celebration of everything he represented.

Per his review, “What in the hell is Kubrick up to here? Does he really want us to identify with the antisocial tilt of Alex’s psychopathic little life? In a world where society is criminal, of course, a good man must live outside the law. But that isn’t what Kubrick is saying. He actually seems to be implying something simpler and more frightening: that in a world where society is criminal, the citizen might as well be a criminal, too.” He also accused the film of being too boring and talky, but at the same time, he celebrated the film’s cinematography. You can stream A Clockwork Orange on Max.

Watch the trailer for A Clockwork Orange here.

17 Labyrinth (1986)

Roger’s Rating: 2/4

In Jim Henson’s Labyrinth, teenager Sarah can’t stand her new stepbrother. Toby’s just a baby, and she’s tired of babysitting him and his constant crying. She wishes goblins would take him, following the story from the book she’s reading. The problem is that her wish comes true. Toby is kidnapped by Goblin King Jareth, and Sarah decides to step up and rescue the baby in a fantasy world filled with strange creatures and David Bowie’s capacity for rocking and rolling in a very bizarre setting.

Over the years, Labyrinth became an audience favorite cult film. TV broadcasts and home video turned it into the fantasy icon that it is today. Only critics weren’t so kind with the film. Though it boasts a 77% score on Rotten Tomatoes, it has its detractors, Roger Ebert among them. He said it was too long, it lacked personality, and it only worked as a showcase for the artistry of Henson’s Creature Shop.

In his review, he stated the following: “Without a strong plot line to pull us through, all movies like this run the danger of becoming just a series of incidents. There’s no structure to the order of the adventures. Sarah does this, she does that, she’s almost killed here, almost trapped there, until at last nothing much matters. Great energy and creativity went into the construction, production and direction of this movie, but it doesn’t have a story that does justice to the production.” You can rent Labyrinth on Prime Video.

Watch the trailer for Labyrinth here.

Related: 10 Star-Studded Movies That Critics Hated

16 Jumanji (1995)

Roger’s Rating: 1.5/4

Based on Chris Van Allsburg’s children’s book of the same name, Jumanji is a fantasy-adventure film that tells the story of Judy and Peter Shepherd, a pair of siblings who move into a new mansion with their aunt after losing their parents. The kids discover a board game named Jumanji in the attic and immediately start playing with it. When creatures literally start emerging from the board, so does a man called Alan. As it turns out, Alan was just a child when he was trapped inside the game, but now that he’s free, he’s forced to help the kids restore peace when a kingdom of animals is let loose in the suburbs of Brantford.

An outstanding box-office success, Jumanji was a special effects spectacle that featured a storyline that was friendly enough to appeal to the whole family. Robin Williams was also a great addition as the lead protagonist. But unfortunately, critics didn’t exactly love it. Roger Ebert gave it a very poor rating because he actually thought it was unnecessarily violent and frightening and had inconsistent character development.

Roger said, “There is little attempt to construct a coherent story. Instead, the characters face one threat after another, as new and grotesque dangers jump at them. It’s like those video games where you achieve one level after another by killing and not getting killed. The ultimate level for young viewers will be being able to sit all the way through the movie.” You can stream Jumanji on Hulu.

Watch the trailer for Jumanji here.

15 Beetlejuice (1988)

Roger’s Rating: 2/4

Tim Burton’s Beetlejuice tells the bizarre story of Adam and Barbara, a couple living on the outskirts of a small town in America, when they suddenly perish in a car accident. Now their ghosts are trapped in their beautiful home, which has been sold to obnoxious city people. Adam and Barbara are desperate to drive them out, and in order to do this, they seek the help of Betelgeuse, a “bio-exorcist” with a bad record, a bad rap, and impressive powers who has an agenda of his own.

The fantasy/horror/comedy was an extremely successful film upon release, both with critics and audiences, and it actually won an Academy Award for Best Makeup. It’s one of the strange cases of an ’80s film whose sequel is arriving almost 40 years later. However, Roger wasn’t as enamored with Burton’s fantasy and Michael Keaton’s Beetlejuice: “One of the problems is Keaton, as the exorcist. Nearly unrecognizable behind pounds of makeup, he prances around playing Beetlejuice as a mischievous and vindictive prankster. But his scenes don’t seem to fit with the other action, and his appearances are mostly a nuisance. It’s also a shame that Alec Baldwin and Geena Davis, as the ghosts, have to spend most of their time playing tricks on Jeffrey Jones and Catherine O’Hara and winning the sympathy of their daughter.” You can rent Beetlejuice on Vudu.

Watch the trailer for Beetlejuice here.

14 The Mist (2007)

Roger’s Rating: 2/4

Frank Darabont’s adaptation of Stephen King’s novella, The Mist, takes audiences to Bridgton, Maine, where a horrible thunderstorm is threatening the peaceful town to the point of a few residents having to lock themselves down. However, it’s not in their homes. While buying groceries, they must secure the grocery store against a looming mist that has formed outside, which brings Lovecraftian monsters with it. The problem is that the flesh-eating creatures aren’t their only problem.

Hailed as one of the best Stephen King adaptations ever put on screen, The Mist appeals mostly to King fans and horror genre fiends. But in retrospect, its dramatic layer is very engaging and does a good job at connecting with audiences who are able to see beyond the creature feature aspect of the film.

But Ebert was not as friendly with the film. In his review of the film, he mentions “cardboard characters and “bug-eyed monsters doing a conga line,” which will give you a sense of his general dislike of the film: “a competently made Horrible Things Pouncing on People Movie. If you think Frank Darabont has equaled the ‘Shawshank’ and ‘Green Mile’ track record, you will be sadly mistaken.” Curiously, he doesn’t mention the film’s ending. You can rent The Mist on Prime Video.

Watch the trailer for The Mist here.

13 Blue Velvet (1986)

Roger’s Rating: 1/4

In Blue Velvet, Jeffrey Beaumont falls in love with the wrong girl. The young and naive college student is forced to come home because of his father’s heart attack, and after finding a severed ear and reporting it to the police, he enters a dark and gritty underbelly of deprivation. The only light at the end of the tunnel seems to be a lounge singer named Dorothy Vallens, whom he falls for quickly, but who’s actually connected to a strange criminal by the name of Frank Booth.

A crime film by David Lynch? People weren’t quite in tune with the film when it was released. But strangely, it earned Lynch an Oscar nomination for Best Director. Yet Roger Ebert passed on the film’s uniqueness and a further revision. He was always vocal about this one: “I was absorbed and convinced by the relationship between Rossellini and MacLachlan, and annoyed because the director kept placing himself between me and the material. After five or 10 minutes in which the screen reality was overwhelming, I didn’t need the director prancing on with a top hat and cane, whistling that it was all in fun.” You can stream Blue Velvet on The Roku Channel.

Watch the trailer for Blue Velvet here.

12 Batman (1989)

Roger’s Rating: 2/4

1989’s Batman is the first big-scale Hollywood adaptation of a superhero. The film tells the origin story of Bruce Wayne wearing the batsuit in order to fight crime in an already rotten version of Gotham City, where the sociopath known as the Joker is taking over the town with his playful use of dangerous substances and increasing violence. Batman must take care of business, but he falls for a journalist called Vicky Vale at the same time and shows that he also has a vulnerable side.

The film blew up the box office the year of its release, and everyone praised Burton’s capacity for bringing the comic book to the screen without shedding away his authenticity as a filmmaker. Michael Keaton’s performances as Batman and Jack Nicholson’s groundbreaking Joker performance were also key to the film’s success.

But if you believe Roger had a certain kind of consideration for Burton’s early films, you aren’t exactly wrong. Batman didn’t have an impact on the critic: “But did I care about the relationship between these two caricatures? Did either one have the depth of even a comic book character? Not really. And there was something off-putting about the anger beneath the movie’s violence. This is a hostile, mean-spirited movie about ugly, evil people, and it doesn’t generate the liberating euphoria of the Superman or Indiana Jones pictures. It’s classified PG-13, but it’s not for kids.” Well, he was right about that. You can stream Batman on Max.

Watch the trailer for Batman here.

Related: These 10 Horror Movies Divided Critics and Audiences

11 Edward Scissorhands (1990)

Roger’s Rating: 2/4

The fantasy film from 1990, Edward Scissorhands, is a beautiful fairy tale set in modern times. Well, sort of. It tells the story of the Boggs family as they incorporate Edward into the family. Edward is a young fella who lives in the Gothic and eerie mansion overlooking the town and who has scissors for hands. Peg is certain he could do better with a family, and when he meets Kim, the teenage Boggs, he falls in love. But prejudice and Edward’s bizarre looks will prove more important in this Gothic romance story.

Nominated for a Best Makeup Academy Award, Edward Scissorhands was the movie that consolidated Tim Burton’s role in the industry as a storyteller with a knack for making the weird seem beautiful, romantic, and attractive. It starred Johnny Depp and Winona Ryder and shot them into the spotlight, and many claim it’s Burton’s best film to date.

So, why wasn’t Roger among those who loved the movie? Apparently, it has to do with Burton’s characterization skills: “All of the central characters in a Burton film—Pee-wee, the demon Betelgeuse, Batman, the Joker, or Edward Scissorhands—exist in personality vacuums; they’re self-contained oddities with no connection to the real world. It’s saying something about a director’s work when the most well-rounded and socialized hero in any of his films is Pee-wee Herman.” The film features Vincent Price in his final role in a feature film. You can stream Edward Scissorhands on Max.

Watch the trailer for Edward Scissorhands here.

10 Die Hard (1988)

Roger’s Rating: 2/4

In Die Hard, New York City Detective John McClane is visiting his wife in Los Angeles. They aren’t exactly solid in their relationship, but they seem to be working at it. However, this holiday reunion is cut short when a terrorist takes over the skyscraper where McClane and his wife Holly are attending a Christmas party. Of course, the fearless detective decides to fight every single criminal until reaching the top floor, where Hans Gruber will reveal his master plan and face one tough NYC cop.

Though the film was nominated only for the usual technical categories (Best Sound Effects, Best Film Editing, Best Visual Effects and Best Sound), it was praised worldwide and was responsible for putting Bruce Willis in the spotlight as an action star. Director John McTiernan had tried to achieve stardom with Predator, but Die Hard was the one that did it. Today, it’s considered one of the best action films ever made.

Ebert wasn’t keen on the film and included words like “mess” and “willfully useless” in his review: “Without the deputy chief and all that he represents, it would have been a more than passable thriller. With him, it’s a mess, and that’s a shame, because the film does contain superior special effects, impressive stunt work and good performances, especially by Rickman as the terrorist. Here’s a suggestion for thriller makers: You can’t go wrong if all of the characters in your movie are at least as intelligent as most of the characters in your audience.” You can rent Die Hard on Prime Video.

Watch the trailer for Die Hard here.

9 The Texas Chain Saw Massacre (1974)

Roger’s Rating: 2/4

The Texas Chain Saw Massacre takes audiences to rural Texas in the ’70s, a gritty wasteland of dirt and carcasses where a dark secret lies. A group of hippies is going across town, and they’re forced to make a stop after picking up a hostile hitchhiker. Each by each, they start being mauled and massacred by a family of cannibals that’s living on the outskirts of town, and their only intention is to feed themselves with the tender flesh of unaware youngsters.

The iconic film by Tobe Hooper is considered one of the best horror films of all time. It dared to show a side of horror based on its setting and counterculture, while adding social commentary that was never that obvious. Audiences loved it, but critics didn’t, and even though the film has been revisited and is now considered an influential horror piece, Ebert’s review was clear in confirming he didn’t love horror.

But at least he isn’t harsh about it and almost recognizes its importance and effectivity: “It’s also without any apparent purpose, unless the creation of disgust and fright is a purpose. And yet, in its own way, the movie is some kind of weird, off-the-wall achievement. I can’t imagine why anyone would want to make a movie like this, and yet it’s well-made, well-acted, and all too effective.” You can stream The Texas Chain Saw Massacre on Freevee.

Watch the trailer for The Texas Chain Saw Massacre here.

8 Hellraiser (1987)

Roger’s Rating: .5/4

Clive Barker’s Hellraiser is an ’80s horror classic that doesn’t get enough love. In the film, Kirsty moves with her father and her stepmother to a new house where her uncle, who has vanished, used to live. As it turns out, Uncle Frank indulged in depraved sexual practices and included Kirsty’s stepmom, Julia, in this. Frank went a little too far with his experiments and ended up acquiring what’s basically a torture chamber and a portal to another dimension. Kirsty finds out the hard way when bodies start dropping, and it turns out to be the work of Julia trying to help Frank come back to our realm.

A horror classic by all means, Hellraiser is an essential piece of the genre that dared to go where no film had ever gone before in its depiction of the afterlife, sexual themes, and the fusion between lust and horror. It spawned a very long franchise that, to this day, keeps having descendants. However, Ebert didn’t appreciate the effort and instead panned it from the very first moment and gave it a horrible rating of half a star: “This is one of those movies you sit through with mounting dread, as the fear grows inside of you that it will indeed turn out to be feature length.” Ouch. You can stream Hellraiser on Shudder.

Watch the trailer for Hellraiser here.

7 The Cider House Rules (1999)

Roger’s Rating: 2/4

In the acclaimed film by Lasse Hallström, The Cider House Rules, we visit a Maine orphanage where Homer Wells has lived all his life. He’s always been under the wing of St. Cloud’s director, Dr. Wilbur Larch, who carries a secret that not many people will understand. When Homer is prepared to enter society outside the orphanage, his upbringing and relationship with Larch will be key to his acceptance of relatively unknown facts.

The film was nominated for seven Academy Awards, including Best Picture and Best Director. It actually won the Oscar for Best Adapted Screenplay and Best Supporting Actor (Michael Caine in probably his finest performance). But critics weren’t exactly compelled by the film’s sugarcoating of some of its themes, Ebert among them.

In his review, he says, “Why is there such a muddle about the movie’s subject? I left the theater wondering what the movie thought it was about, and was unable to say. It’s almost deliberately unfocused; it shows us many events without guiding them to add up to anything definite.” You can stream The Cider House Rules on Paramount+.

Watch the trailer for The Cider House Rules here.

6 The Strangers (2008)

Roger’s Rating: 1.5/4

The Strangers is the home invasion horror thriller that scared audiences out of their minds in 2008 when it executed a concept so simple, it felt real. Actually, that must have been the whole “based on true events” story that came in conjunction with the film’s release. In the film, a couple on vacation is terrorized by three strangers wearing creepy masks. This is one of those movies where you keep thinking, “Oh, surely that’s not going to happen,” and then it does.

Though the film went through a rocky release schedule, audiences fell in love with it quickly, making it a very successful sleeper hit. The Strangers is a terrifying and visceral horror experience that doesn’t innovate the genre, but subtly uses its already familiar format to wreak havoc on your sanity.

As it usually happened with horror, Roger wasn’t very polite: “I think a lot of audience members will walk out really angry at the ending, although it has a certain truthfulness and doesn’t cheat on the situation that has been building up. The movie deserves more stars for its bottom-line craft, but all the craft in the world can’t redeem its story.” You can stream The Strangers on Netflix.

Watch the trailer for The Strangers here.

5 Mamma Mia! (2008)

Roger’s Rating: 2/4

Based on the jukebox musical comedy play of the same name, Mamma Mia! tells the story of Sophie Sheridan, a soon-to-be-married girl who doesn’t know who her father is. So, to solve his conundrum, she doesn’t have a better idea than to invite three potential candidates, based on what her mother has let her know about her sexual encounters. The film is based on the songs of the Swedish pop group ABBA and features enough musical numbers to satisfy those fascinated by the genre.

Mamma Mia! was extremely successful when it was released. It became one of the highest-grossing films of the year, and it paved the way for a sequel that didn’t take too long to be announced. It won a handful of awards, most of which had to do with its music.

But critics quickly expressed their true opinion of the film, and Ebert agreed with this take. At least, he was pretty honest in his review when he acknowledged that the film wasn’t made for him: “The plot is a clothesline on which to hang the songs; the movie doesn’t much sparkle when nobody is singing or dancing, but that’s rarely. The stars all seem to be singing their own songs, aided by an off-screen chorus of, oh, several dozen, plus full orchestration.” You can stream Mamma Mia! on Netflix.

Watch the trailer for Mamma Mia! here.

Related: 20 TV Shows That Had Critics and Audiences Divided

4 Napoleon Dynamite (2004)

Roger’s rating: 1.5/4

Jared Hess’ quirky and surreal comedy, Napoleon Dynamite, tells the story of the title character as he navigates every kind of issue that arises during his teenage years. He gets bullied for no reason, falls in love but can’t bring himself to express it, and feels entitled to support a newcomer at school running for class president. But nothing can be compared to Napoleon’s bizarre family structure. If you haven’t seen this one, no words can describe it.

It’s pretty obvious that Napoleon Dynamite isn’t a film for everybody. It’s just unique in its visual style and narrative, and it only works if you get in tune with its very specific, feel-good kind of humor. Since its release, it has become a cult comedy, but critics have always been divided about it.

Ebert uses works like “studied stupidity” in his review, so you may be aware of his dislike for it: “I’m told the movie was greeted at Sundance with lots of laughter, but then Sundance audiences are concerned with being cool, and to sit through this film in depressed silence would not be cool, however urgently it might be appropriate.” You can stream Napoleon Dynamite on Hulu.

Watch a clip from Napoleon Dynamite here.

3 Saw (2004)

Roger’s Rating: 2/4

James Wan’s horror thriller Saw tells the story of a very sick individual who submits people to elaborate traps that end up representing their demise. However, Jigsaw doesn’t exactly kill anybody and just wants people to learn their lesson. Such is the case of Dr. Gordon and Adam, two strangers who find themselves locked in a dirty bathroom and chained to pipes. Between them, a corpse lies. After they realize what Jigsaw wants them to do, they become desperate and do whatever is possible to survive while following the instructions.

Considering what kind of film Saw is, two stars out of four seems to be a gentle move by Ebert. After all, he wasn’t very in tune with modern horror and every offshoot it derived from it. Saw is a solid horror film, well-written by one of today’s most important horror filmmakers, and featuring an impressive twist. But it’s violent, and as good as the results were with audiences worldwide, Roger Ebert didn’t exactly appreciate it for its importance.

In his review, he says, “A movie that conceals the identity of a killer is of a lower order, in general, than one that actually deals with him as a character. To get to know someone is infinitely more pleasing than to meet some guy behind a hockey mask, or in a puppet suit, or whatever. There is always the moment when the killer is unmasked and spews out his bitterness and hate and vindictive triumph over his would-be victims. I find it a wonder this obligatory scene has survived so long, since it is so unsatisfying. How about just once, at the crucial moment, the killer gets squished under a ton of canned soup, and we never do find out who he was?” You can stream Saw on Prime Video.

Watch the trailer for Saw here.

2 War of the Worlds (2005)

Roger’s Rrating: 2/4

War of the Worlds is a modern adaptation of the literary classic by H.G. Wells that takes us to Brooklyn, where a dock worker and his two kids are forced to escape a surprising display of force by invading aliens who didn’t exactly arrive. They were always here. Ray Ferrier makes a desperate attempt to run with Rachel and Robbie, but soon they discover the might of the tripods may be more threatening than it seems.

Steven Spielberg’s return to alien-based movies is a very good sci-fi thrillerm and probably his most underrated film of the last 20 years. It was nominated for three Academy Awards in technical categories, and the box-office return was actually very good.

Reception by critics was also decent, but those like Ebert had more negative remarks: “You look at Spielberg’s machines and you don’t get much worked up, because you’re seeing not alien menace but clumsy retro design. Perhaps it would have been a good idea to set the movie in 1898, at the time of Wells’ novel, when the tripods represented a state-of-the-art alien invasion.” We can’t say we agree. You can stream War of the Worlds on Hulu.

Watch the trailer for War of the Worlds here.

1 Rope (1948)

Roger’s Rating: 2/4

Alfred Hitchcock’s thriller Rope takes us to a cozy department in Manhattan, where Brandon and Phillip kill their former classmate. They want to prove their superiority and aim at committing the perfect crime, hiding the body in a large chest in the middle of the living room. The curious aspect of the evening is that the pair will host a dinner party that one of their former housemasters will attend, as well as the deceased’s family. Rupert, the housemaster and a very clever man, starts suspecting Phillip and Brandon may have something to hide.

Some imply that Rope could use a modern remake, but it could be just a formalization of some of its “coding” that seems outdated. Rope is actually a great exercise in the genre that Hitchcock designed himself to achieve a claustrophobic experience that’s very hard to forget. The film takes place in real time and is composed of long and unedited takes. We don’t have to tell you how important this was in 1948.

Curiously, Roger Ebert didn’t love the film by the master of suspense. His opinion had to do, of course, with the “gimmick” of the long takes: “In an ordinary movie, closer shots indicate more intensity, longer shots are more objective. Camera movement helps establish mood. Closeups punch home dramatic moments. Cutaways, or “reaction shots,” make it clear who is reacting, and when.

Although Hitchcock tried to choreograph his 10-minute takes so that the camera would be where the drama demanded it, there are moments when it seems to be in the wrong place at the wrong time. And that trunk spends so much time in the foreground that we wonder why it’s not the immediate center of attention.” You can stream Rope on The Criterion Channel.

Watch the trailer for Rope here.

To conclude, here’s a video of the greatest films of all time according to Roger Ebert: