10 Movies Roger Ebert Didn’t Like That Actually Aged Really Well

There are a number of movies that renowned film critic Roger Ebert panned when they were first released, but have since gone on to be considered classics and cult favorites. During his prolific career, Ebert established himself as an authoritative voice in film criticism through his thoughtful analysis and judgment of cinematic works. However, there were instances where his initial assessments of certain movies were out of step with the esteem and appreciation the films would garner over time. Though the depth of his knowledge is undeniable, Ebert occasionally directed harsh criticism at movies which later found widespread acclaim and audiences.

Time has shown that the merits of some movies are revealed gradually. There are examples of movies dismissed in their day as lacking substance or artistry, only to be regarded as seminal entries in the medium years later thanks to newly recognized subtext or influence. While no critic can be expected to predict every film’s lasting significance, it is interesting to look back at selections from Ebert’s volumes of reviews and examine cases where his educated perspective failed to recognize qualities that allowed certain films to transcend early criticism and become classics.

10 Tommy Boy (1995)

Roger’s Rating: 1 / 4 Stars

When Tommy Boy was released in 1995, renowned film critic Roger Ebert gave the buddy comedy a harsh review, rating it just 1 out of 4 stars. He claimed “no character is funny” besides the villain played by Rob Lowe, and that the movie overall lacked any memorable lines or genuinely humorous moments. However, over time, Tommy Boy has become a beloved comedy classic thanks to Chris Farley’s lovable and hilarious performance. Though sophisticated critics like Ebert may have seen the movie as vulgar and dull, its simplicity and heartfelt charm have allowed it to age incredibly well as a comedy cult favorite for Farley fans.

9 Hocus Pocus (1993)

Roger’s Rating: 1 / 4 Stars

Giving a rating of just 1 out of 4 stars, Roger Ebert seemed immune to the quirky charm of Hocus Pocus. He likened watching it to attending a party where everyone is in on an inside joke that goes over your head. While there are some harsh realities rewatching Hocus Pocus 30 years later and the premise is admittedly silly, that is precisely what makes it appealling for so many to this day. What Ebert found lacking in coherent narrative and character development has been embraced as the film’s strength, which is never taking itself too seriously and reveling in the playful absurdity.

8 Dead Poets Society (1989)

Roger’s Rating: 2 / 4 Stars

Dead Poets Society with its dark academia aesthetic is often considered a poignant ode to the power of education thanks to Robin Williams’ inspiring performance as an English teacher who encourages his students to seize the day. However, Roger Ebert took issue with what he saw and gave the film 2 out of 4 stars. He criticized the emotional arcs as false and clunky, despite praise for Williams. While Ebert’s cinematic analysis has proven sharp countless times, the cultural footprint left by Dead Poets Society suggests he misjudged the impact this story would have, as Dead Poets Society persists as a classic.

7 Raising Arizona (1987)

Roger’s Rating: 1.5 / 4 Stars

The Coen Brothers’ crime comedy Raising Arizona landed in 1987 and left Roger Ebert unconvinced. He took issue with its exaggerated characters, believing their silly comedic dialects and the film’s surreal nature created jarring tonal dissonance. Ebert argued it failed to ground itself either in reality or fully commit to outlandish fantasy. However, the weirdness that confused Ebert is what makes it a great film today. The thick Southern accents and zany hijinks heighten emotional investment rather than undermine it. For many, Raising Arizona remains an ingeniously funny romp proving their radically distinct vision was already fully formed from the start.

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6 Beetlejuice (1988)

Roger’s Score: 2 / 4 Stars

Tim Burton’s gloriously ghoulish sensibilities have won him a legion of fans, but often left Roger Ebert cold. While Ebert praised the film’s set design, he took issue with what he saw as emphasis on odd gimmicks over character development. Despite the critique, this marriage of the eccentric and mundane perfectly encapsulates the weird, but heartfelt charm pulsing through Burton’s best works. Keaton’s wild performance captures a tricky balance between creepy and playful that resonates decades later in countless Halloween costumes. Though Ebert felt there were details in Beetlejuice that didn’t make sense, the film endures not in spite of its oddities, but precisely because of them.

5 Fast Times at Ridgemont High (1982)

Roger’s Rating: 1 / 4 Stars

Unlike most panned films that Roger Ebert still managed to find redeeming qualities in, his review for the 1982 coming-of-age classic Fast Times at Ridgemont High was unapologetically scathing. He referred to Amy Heckerling’s directorial debut chronicling teenage life as a “scuz-pit” completely lacking any comedic awareness. Ebert saw only embarrassing missteps where most viewers discovered one of the decade’s defining teen comedies. While appealing humor is undeniably subjective, time has overwhelmingly vindicated the film’s resonance. Its balanced blend of raunchy wit and heartfelt characters struggling through universal adolescent growing pains have earned it not just endless rewatches, but preservation in the Library of Congress.

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4 Napoleon Dynamite (2004)

Roger’s Rating: 1.5 / 4 Stars

Comedy can undoubtedly be the most subjective genre, often yielding vastly conflicting reactions between critics and general audiences. This was exemplified by the polarized responses to 2004’s quirky coming-of-age story Napoleon Dynamite. Roger Ebert took particular issue with the film’s offbeat leanings into odd behavior and deadpan delivery. He felt the appeal relied too heavily on forced awkwardness that it crushed any genuine laughs. Almost 20 years after the film’s release, the sheer idiosyncrasies quotable lines of Napoleon Dynamite endure as comedy gold. Napoleon Dynamite speaks to quirky outsiders everywhere, and the film’s earnest nature explains why so many still celebrate the film today.

3 The Usual Suspects (1995)

Roger’s Rating: 1.5 / 4 Stars

While the ending of The Usual Suspects is considered one of the best, Roger Ebert felt the 1995 film’s third act reversal undermined its impact. He wanted complex emotional truth, not narrative trickery, prioritizing shock value over meaningful character development. Despite this, many delight in trying to outsmart and unravel the deceptive narrative, sparking engaged viewership. The film is full of substance and cunning style, inviting audiences into layered deceptions that play with perception and memory while being anchored in neo-noir aesthetics and charismatic characters. For many, that balance of intrigue and emotional investment makes its manipulations and revealed twist all the more astonishing.

2 Fight Club (1999)

Roger’s Rating: 2 / 4 Stars

Roger Ebert awarded David Fincher’s Fight Club only 2 out of 4 stars, as he believed its scathing takedown of modern masculinity and capitalism descended into mindless aggression and fascist ideals. While the film’s violence is extreme, its visceral intensity speaks to a very real sense of alienation and powerlessness. Fincher trusted the audience to glean sincerity beyond sensationalism. For those who relate to the characters, Fight Club remains a battle cry against pressures to conform that stamp out individual identity. Though Ebert understandably recoiled, the film continues to reflect the inner turmoil of those trapped between who they are and who society demands they become.

1 A Clockwork Orange (1971)

Roger’s Rating: 2 / 4 Stars

Though controversial for its graphic violence upon release in 1971, Stanley Kubrick’s dystopian film A Clockwork Orange endures as a masterpiece dissecting human nature. Ebert felt Kubrick failed to establish a clear moral perspective on the charismatic, yet sadistic protagonist Alex. As disturbing as his crimes are, the film continues resonating for the timeless questions it poses about free will, reform, and society’s propensity for cruelty over empathy. Kubrick’s unwillingness to simplify the darkness within men has kept the film relevant as social commentary. Despite Roger Ebert‘s claims, A Clockwork Orange remains a staple of cinema for its singular vision cementing the film’s enduring allure.