35 Movies Roger Ebert Really Hated

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When Roger Ebert hated a film, he didn't mince words. Here are some movies the Pulitzer Prize-winning writer absolutely loathed (including a couple of surprises) and his dry assessments of their value.

1. ARMAGEDDON (1998) // 1 STAR

“The movie is an assault on the eyes, the ears, the brain, common sense and the human desire to be entertained. No matter what they’re charging to get in, it’s worth more to get out. ... Armageddon reportedly used the services of nine writers. Why did it need any? The dialogue is either shouted one-liners or romantic drivel. ‘It’s gonna blow!’ is used so many times, I wonder if every single writer used it once, and then sat back from his word processor with a contented smile on his face, another day’s work done.”

2. THE BROWN BUNNY (2003) // 0 STARS

"I had a colonoscopy once, and they let me watch it on TV. It was more entertaining than The Brown Bunny."

When the movie’s director responded by mocking Ebert’s weight, Ebert said, “It is true that I am fat, but one day I will be thin, and he will still be the director of The Brown Bunny."

3. JASON X (2001) // HALF STAR

"'This sucks on so many levels.' Dialogue from Jason X; rare for a movie to so frankly describe itself. Jason X sucks on the levels of storytelling, character development, suspense, special effects, originality, punctuation, neatness and aptness of thought."

4. MAD DOG TIME (1996) // 0 STARS

"Mad Dog Time is the first movie I have seen that does not improve on the sight of a blank screen viewed for the same length of time. Oh, I've seen bad movies before. But they usually made me care about how bad they were. Watching Mad Dog Time is like waiting for the bus in a city where you're not sure they have a bus line  ... Mad Dog Time should be cut into free ukulele picks for the poor."

5. THE USUAL SUSPECTS (1995) // 1.5 STARS

"Once again, my comprehension began to slip, and finally I wrote down: 'To the degree that I do understand, I don't care.' It was, however, somewhat reassuring at the end of the movie to discover that I had, after all, understood everything I was intended to understand. It was just that there was less to understand than the movie at first suggests."

6. DEUCE BIGALOW: EUROPEAN GIGOLO (2005) // ZERO STARS

"[The title character] makes a living prostituting himself. How much he charges I'm not sure, but the price is worth it if it keeps him off the streets and out of another movie. Deuce Bigalow is aggressively bad, as if it wants to cause suffering to the audience. The best thing about it is that it runs for only 75 minutes ... Speaking in my official capacity as a Pulitzer Prize winner, Mr. Schneider, your movie sucks."

7. MR. MAGOO (1997) // HALF STAR

“Magoo drives a red Studebaker convertible in Mr. Magoo, a fact I report because I love Studebakers and his was the only thing I liked in the film. Mr. Magoo is transcendently bad. It soars above ordinary badness as the eagle outreaches the fly.”

8. SPICE WORLD (1997) // HALF STAR

"Spice World is obviously intended as a ripoff of A Hard Day's Night which gave The Beatles to the movies ... the huge difference, of course, is that the Beatles were talented—while, let's face it, the Spice Girls could be duplicated by any five women under the age of 30 standing in line at Dunkin' Donuts."

9. GOOD LUCK CHUCK (2007) // 1 STAR

"There is a word for this movie, and that word is: Ick."

10. FREDDY GOT FINGERED (2001)// 0 STARS

"This movie doesn't scrape the bottom of the barrel. This movie isn't the bottom of the barrel. This movie isn't below the bottom of the barrel. This movie doesn't deserve to be mentioned in the same sentence with barrels."

11. CORKY ROMANO (2001) // HALF STAR

Corky Romano is like a dead zone of comedy. The concept is exhausted, the ideas are tired, the physical gags are routine, the story is labored, the actors look like they can barely contain their doubts about the project.”

12. CHARLIE'S ANGELS (2000) // HALF STAR

Charlie’s Angels is like the trailer for a video game movie, lacking only the video game, and the movie.”

13. MANNEQUIN (1987) // HALF STAR

“A lot of bad movies are fairly throbbing with life. Mannequin is dead. The wake lasts 1 1/2 hours, and then we can leave the theater. Halfway through, I was ready for someone to lead us in reciting the rosary.”

14. EXIT TO EDEN (1994) // HALF STAR

“I’m sorry, but I just don’t get Rosie O’Donnell. I’ve seen her in three or four movies now, and she generally had the same effect on me as fingernails on a blackboard. She’s harsh and abrupt and staccato and doesn’t seem to be having any fun. She looks mean. ...  What were your first thoughts the first time Rosie turned up in the leather dominatrix uniform? Did you maybe have slight misgivings that you were presiding over one of the more misguided film projects of recent years?”

15. HOCUS POCUS (1993) // 1 STAR

“Of the film’s many problems, the greatest may be that all three witches are thoroughly unpleasant. They don’t have personalities; they have behavior patterns and decibel levels. A good movie inspires the audience to subconsciously ask, ‘Give me more!’ The witches in this one inspired my silent cry, ‘Get me out of here!’”

(What can we say? Ebert was occasionally wrong.)

16. TOMMY BOY (1995) // 1 STAR

“No one is funny in Tommy Boy. There are no memorable lines. None of the characters is interesting, except for the enigmatic figure played by Rob Lowe, who seems to have wandered over from Hamlet. Judging by the evidence on the screen, the movie got a green light before a usable screenplay had been prepared, with everybody reassuring themselves that since they were such funny people, inspiration would overcome them.”

17. THE VILLAGE (2004) // 1 STAR

“Eventually the secret of Those, etc., is revealed. It’s a crummy secret, about one step up the ladder of narrative originality from It Was All a Dream. It’s so witless, in fact, that when we do discover the secret, we want to rewind the film so we don’t know the secret anymore. And then keep on rewinding, and rewinding, until we’re back at the beginning, and can get up from our seats and walk backward out of the theater and go down the up escalator and watch the money spring from the cash register into our pockets.”

18. THE LOVE GURU (2008) // 1 STAR

“Myers has some funny moments, but this film could have been written on toilet walls by callow adolescents. Every reference to a human sex organ or process of defecation is not automatically funny simply because it is naughty, but Myers seems to labor under that delusion. He acts as if he’s getting away with something, but in fact all he’s getting away with is selling tickets to a dreary experience.”

19. SHE'S OUT OF CONTROL (1989) // 0 STARS

“What planet did the makers of this film come from? What assumptions do they have about the purpose and quality of life? I ask because She’s Out of Control is simultaneously so bizarre and so banal that it’s a first: the first movie fabricated entirely from sitcom cliches and plastic lifestyles, without reference to any known plane of reality.”

20. SUMMER SCHOOL (1987) // HALF STAR

“You see it, you leave the theater, and then it evaporates, leaving just a slight residue, something like a vaguely unpleasant taste in the memory.”

21. CLIFFORD (1994) // HALF STAR

“It’s not bad in any usual way. It’s bad in a new way all its own. There is something extraterrestrial about it, as if it’s based on the sense of humor of an alien race with a completely different relationship to the physical universe. The movie is so odd, it’s most worth seeing just because we’ll never see anything like it again. I hope.”

22. NORTH (1994) // 0 STARS

"I hated this movie. Hated hated hated hated hated this movie. Hated it. Hated every simpering stupid vacant audience-insulting moment of it. Hated the sensibility that thought anyone would like it. Hated the implied insult to the audience by its belief that anyone would be entertained by it."

Alan Zweibel wrote this film, and he got a chance to confront Ebert about the review. In a bathroom.

23. 200 CIGARETTES (1999)// HALF STAR

"Maybe another 200 cigarettes would have helped; coughing would be better than some of this dialogue."

24. DEATH TO SMOOCHY (2002) // HALF STAR

"In all the annals of the movies, few films have been this odd, inexplicable and unpleasant."

25. SAVING SILVERMAN (2001) // HALF STAR

"Saving Silverman is so bad in so many different ways that perhaps you should see it, as an example of the lowest slopes of the bell-shaped curve."

He included a critique of Neil Diamond, who makes a guest appearance in the movie: "As for Neil Diamond, Saving Silverman is his first appearance in a fiction film since The Jazz Singer (1980), and one can only marvel that he waited 20 years to appear in a second film, and found one even worse than his first one."

26. THE JAZZ SINGER (1980) // 1 STAR

From rogerebert.com:

"Diamond's whole presence in this movie is offensively narcissistic. His songs are melodramatic, interchangeable, self-aggrandizing groans and anguished shouts, backed protectively by expensive and cloying instrumentation. His dramatic presence also looks over-protected, as if nobody was willing to risk offending him by asking him to seem involved, caring and engaged.

"Diamond plays the whole movie looking at people's third shirt buttons, as if he can't be bothered to meet their eyes and relate with them. It's strange about the Diamond performance: It's not just that he can't act. It's that he sends out creepy vibes. He seems self-absorbed, closed off, grandiose, out of touch with his immediate surroundings."

27. ACE VENTURA: PET DETECTIVE (1994) // 1 STAR

"Most of the people look as if they would rather be in other movies. The movie basically has one joke, which is Ace Ventura's weird nerdy strangeness. If you laugh at this joke, chances are you laugh at Jerry Lewis, too, and I can sympathize with you even if I can't understand you. I found the movie a long, unfunny slog through an impenetrable plot. Kids might like it. Real little kids."

28. STOP! OR MY MOM WILL SHOOT (1992) // HALF STAR

"Stop! Or My Mom Will Shoot! is one of those movies so dimwitted, so utterly lacking in even the smallest morsel of redeeming value, that you stare at the screen in stunned disbelief. It is moronic beyond comprehension, an exercise in desperation during which even Sylvester Stallone, a repository of self-confidence, seems to be disheartened."

29. THE DUKES OF HAZZARD (2005) // 1 STAR

"Of course you don't have to be smart to get into The Dukes of Hazzard. But people like Willie Nelson and Burt Reynolds should have been smart enough to stay out of it. Here is a lame-brained, outdated wheeze about a couple of good ol' boys who roar around the back roads of the South in the General Lee, their beloved 1969 Dodge Charger. As it happens, I also drove a 1969 Dodge Charger. You could have told them apart because mine did not have a Confederate flag painted on the roof."

30. GODZILLA (1998) // 1.5 STARS

"Going to see Godzilla at the Palais of the Cannes Film Festival is like attending a satanic ritual in St. Peter's Basilica. It's a rebuke to the faith that the building represents. Cannes touchingly adheres to a belief that film can be intelligent, moving and grand. Godzilla is a big, ugly, ungainly device to give teenagers the impression they are seeing a movie."

31. THE BUCKET LIST (2007) // 1 STAR

"The Bucket List is a movie about two old codgers who are nothing like people, both suffering from cancer that is nothing like cancer, and setting off on adventures that are nothing like possible. I urgently advise hospitals: Do not make the DVD available to your patients; there may be an outbreak of bedpans thrown at TV screens."

32. DIRTY LOVE (2005) // 0 STAR

"I would like to say more, but—no, I wouldn't. I would not like to say more. I would like to say less. On the basis of Dirty Love, I am not certain that anyone involved has ever seen a movie, or knows what one is."

33. BATTLEFIELD EARTH (2000) // HALF STAR

"This movie is awful in so many different ways. Even the opening titles are cheesy. Sci-fi epics usually begin with a stab at impressive titles, but this one just displays green letters on the screen in a type font that came with my Macintosh. Then the movie's subtitle unscrolls from left to right in the kind of 'effect' you see in home movies."

34. THE FLINTSTONES IN VIVA ROCK VEGAS (2000) // HALF STAR

"This is an ideal first movie for infants, who can enjoy the bright colors on the screen and wave their tiny hands to the music."

35. PINK FLAMINGOS (1972) // 0 STARS

"John Waters' Pink Flamingos has been restored for its 25th anniversary revival, and with any luck at all that means I won't have to see it again for another 25 years. If I haven't retired by then, I will. ... Note: I am not giving a star rating to Pink Flamingos because stars simply seem not to apply. It should be considered not as a film but as a fact, or perhaps as an object."

Reviews via RogerEbert.com.

Mifflin Madness: Who Is the Greatest Character on The Office? It's Time to Vote

Steve Carell, as Michael Scott, hands out a well-deserved Dundie Award on The Office.
Steve Carell, as Michael Scott, hands out a well-deserved Dundie Award on The Office.
NBC

Your years of watching (and re-watching) The Office, which just celebrated its 15th anniversary, have all led up to this moment. Welcome to Mifflin Madness—Mental Floss's cutthroat competition to determine The Office's greatest character. Is Michael Scott the boss you most love to hate? Or did Kevin Malone suck you in with his giant pot of chili?

You have 24 hours to cast your vote for each round on Twitter before the bracket is updated and half of the chosen characters are eliminated.

The full bracket is below, followed by the round one and round two winners. You can cast your round three vote(s) here. Be sure to check back on Monday at 4 p.m. ET to see if your favorite Dunder Mifflin employee has advanced to the next round. 

Round One


Round Two


Round Three


The Office Planned to Break Up Jim and Pam in the Final Season—Then (Smartly) Thought Better of It

Jenna Fischer and John Krasinski star in The Office.
Jenna Fischer and John Krasinski star in The Office.
NBCUniversal Media, LLC

Jim Halpert and Pam Beesly's relationship in The Office was truly a romance for the ages. Fans were delighted when, in Season 3—after years of flirting—John Krasinski and Jenna Fischer’s characters finally got together. But an alternative plan for the show’s ninth and final season saw the couple going their separate ways.

Season 9 saw one of the most stressful storylines the show had to offer when Jim took a job in Philadelphia and Pam struggled to take care of their children on her own back in Scranton, putting intense strain on their otherwise seemingly perfect relationship. In one unforgettable scene, a particularly tense phone call between the couple ends with Pam in tears. Fischer’s character then turns to someone off camera named Brian for advice.

As Collider reports, Pam and Jim's relationship could have taken a turn for worse in the final season—and the writers had planned it that way. As recounted in Andy Greene's new book, The Office: The Untold Story of the Greatest Sitcom of the 2000s, series creator Greg Daniels sat down with each of the show's stars before starting the final season to discuss where their characters would go. John Krasinski, who played Jim, pitched the idea of putting Jim and Pam’s relationship on thin ice. According to Krasinski:

"My whole pitch to Greg was that we’ve done so much with Jim and Pam, and now, after marriage and kids, there was a bit of a lull there, I think, for them about what they wanted to do … And I said to Greg, ‘It would be really interesting to see how that split will affect two people that you know so well.'"

Several writers weighed in with ideas about how they might handle a split between Jim and Pam from a narrative standpoint—though not everyone was on the same page.

Warren Lieberstein, a writer on the series, remembered when the idea of bringing Brian—the documentary crew's boom operator—into the mix. “[This] was something that came up in Season 5, I think," Lieberstein said. "What if that character had been secretly there the entire time and predated the relationship with Jim and had been a shoulder that she cried on for years?’ It just seemed very intriguing." Apparently, the writers thought breaking the fourth wall would jeopardize the show, so they saved it for the last season.

Writer Owen Ellickson said there was even some talk of Pam and Brian “maybe hooking up a little bit," but the negative response to the storyline led the writers to "pull the ripcord on [Pam and Jim's separation] because it was so painful to fans of the show." Ellickson said that they backtracked so quickly, they even had to re-edit certain episodes that had already been shot to nix the idea of Jim and Pam splitting up. Which is something the show's millions of fans will be forever grateful for.

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