Before audiences had access to innumerate voices and professed authority on cinema via the internet, they relied on the thumb gauge of film criticsGene SiskelandRoger Ebert. It might surprise some fans to learn that the passionate pair were journalists, not movie buffs. The non-cinephiles began their movie-reviewing careers as rival critics at Chicago newspapers, with Siskel writing forThe Chicago Tribuneand Ebert forThe Chicago Sun-Times. Though Ebert had loftier career plans, in 1975, he wasthe first critic to receive the Pulitzer Prizefor criticism, sealing his fate.
The unlikely duo became the definitive voices (and thumbs) on whether audiences tuned in or out. They were first featured on PBS from 1975 to 1986 inOpening Soon at a Theatre Near You, followed by a revamped weekly series calledSneak Previews. Frustrated by the overproduced structure of the PBS shows, a more authentic series,Siskel & Ebertbecame their home base until Siskel died in 1999.Ebert continued to review filmsalongside guest critics, selectingRichard Roeperas his new co-host in 2000, but the show’s essence was never the same. Here are some hot takes, chaotic pivots, heated disagreements, and cinematic love-fests from the thumbs who started it all.
Sneak Previews
This groundbreaking TV show features film critics Gene Siskel and Roger Ebert reviewing the latest movies. Known for their passionate debates and “thumbs up, thumbs down” ratings, the show influenced generations of moviegoers and set the standard for televised film criticism.
10’Speed 2: Cruise Control' (1997)
Siskel: Thumbs up, Ebert: Thumbs up
In the sequel to theKeanu Reeves/Sandra BullockblockbusterSpeed,Speed 2: Cruise Controltrades an unstoppable city bus for an unstoppable luxury cruise ship. The ocean liner is overtaken by a delusional villain named Geiger (Willem Dafoe), andit’s up to Bullock and her boyfriend, LAPD officer Alex (Jason Patric), to row the boat ashore safely. The movie was a box office dud, grossing $164 million worldwide, barely breaking even.
Both critics thoroughly enjoyed the “ocean liner adventure,” but Ebert noted that he “showed up to see the star” (Bullock) from the first movie. Siskel argued that “there werethreestars, Patric, Bullock, and the ship,” and they were all very good. Despite their heated fervor during the review,the sparring critics were surprisingly positiveregarding directorJan de Bont’s action movie. TheCruise Controlreview hysterically concluded as Ebert held fast to his assertion that the movie needed more Bullock, stating, “My point is still an excellent one.” Shaking his head in disagreement, Siskel clapped back: “Only in your head.”
Speed 2: Cruise Control
9’The Silence of the Lambs' (1991)
Siskel: Thumbs down, Ebert: Thumbs up
At the Boston Psychiatric Hospital for the Criminally Insane, FBI trainee Clarice Starling (Jodie Foster) interviews the incarceratedcannibalistic serial killer Hannibal Lecter(Anthony Hopkins). Starling is tasked with extracting practical methodology from the mind of one killer to catch an active killer on the loose. The young FBI agent intrigues the silver-tongued Lecter, and a game of cat and mouse ensues.
Siskel was not impressed bySilence of the Lambs. He slams directorJonathan Demmefor choosing a “trashy project” and thoughtHopkins' performance was “overplayed.“Ebert praised the film, noting that Starling and Lecter represented “one of the most peculiar and fascinating relationships on film he’s seen in a long time.” Additionally, Ebert praised both Hopkins and Foster’s performances and accused Siskel of “shortchanging the skill and art” that went into the film. Siskel thought Hopkins didn’t need the dramatic score and an organ playing in the background, to which Ebert exclaims, “Gene, this isthe movies!What do you want?” Given the opportunity, Lecter would’vetotallyeaten Gene.
The Silence of the Lambs
A young F.B.I. cadet must receive the help of an incarcerated and manipulative cannibal killer to help catch another serial killer, a madman who skins his victims.
8Blue Velvet (1986)
Siskel: Thumbs up, Ebert: Thumbs down
David Lynch’s neo-noir thrillerBlue Velvetstars frequent collaboratorKyle MacLachlanas Jeffrey Beaumont, a man who returns home and finds a severed ear. He joins forces with Sandy (Laura Dern) and begins to spy on a mysterious lounge singer, Dorothy Vallens (Isabella Rossellini), who is somehow tied to the ear. Amid Jeffrey’s amateur sleuthing, he encounters Frank Booth (Dennis Hopper), a drug-dealing maniac who answers to no one. Since its release in 1986,Blue Velvethas appeared on numerous ‘Best Films of All Time’ lists but never impressed Roger Ebert.
After referring to the film as a “sick, depraved masterpiece,” Ebert acknowledged Lynch’s talent but said, “The more he thought aboutBlue Velvet, the less I liked it.” He felt strongly against scenes depicting humiliating sexual scenes, stating that “Rossellini was asked to do what few actresses have been asked before.“Ebert said witnessing Rossellini on-screen pained him, and Lynch’s film was “cruelly unfair to its actors.” Siskel countered by agreeing thatBlue Velvetchallenges the viewer’s reaction in agoodway and that “Rossellini consented to do what she did.” He affirmed that Lynch aimed to play the audience like a piano. Ebert replied, “If somebody’s going to play me like a piano, he better get some music worth listening to.”
Blue Velvet
The discovery of a severed human ear found in a field leads a young man on an investigation related to a beautiful, mysterious nightclub singer and a group of psychopathic criminals who have kidnapped her child.
7Broken Arrow (1996)
Siskel: Thumbs up before thumbs down, Ebert: Thumbs down
On a secret mission involving stealth bombers, Major “Deak” Deakins (John Travolta) and Captain Riley Hale (Christian Slater) become midair enemies.Deakins hatches a plan to extort the governmentusing B83 warhead missiles, framing Hale in the process. However, Deakins underestimates Hale and his new Park Ranger ally, Terry (Samantha Mathis), as directorJohn Wooreleases his trademark doves into the sky.
“I don’t think I’ve done this on this show in 20 years, but I’m going to twist my thumb down.”
Siskel begins his assessment ofBroken Arrowby praising Woo’s colorful action scenes, though he admits it gets tedious. Still, Siskel says that he liked the picture for what it was trying to accomplish. Ebert joins the conversation by noting that Travolta was “not convincing as a villain” and"the movie isn’t interesting.“Siskel starts to agree with Ebert, admitting that “it didn’t work” because Travolta is “a sweet guy,” which leads to one of the most remarkable moments in their reviewing history. Siskel says,“I don’t think I’ve done this on this show in 20 years, but I’m going to twist my thumb down.“While Ebert is amazed at the turn of events, Siskel seizes the opportunity to ask Ebert to change his appraisal ofCop and a Half. Not a chance.
6Jaws: The Revenge (1987)
Siskel: Thumbs down, Ebert: Thumbs down
A hungry great white shark meanders into the shallow waters of Amity Island inJaws,the1975 masterpiece by youngSteven Spielberg,a prolific visionary and singular talent. After the monumental success and exhilarating thrill ofJaws, several sequels followed. InJaws: The Revenge, a fourth toothy aquatic beast returns to the shores of Amity Island to finish what began many sharks ago.
Siskel and Ebert have fun poking plot holes and technical errors in their review of the fourth installment of theJawsfilms. The renowned film critics weren’t alone in evaluating the movie, asEntertainment WeeklyselectedJaws: The Revengeasone of the worst sequels ever made. Siskel amusingly emulated shark-speak via a bizarre plot to murder all members of the Brody family and was so annoyed by a dream sequence that he “wanted to punch a hole in the (film) screen.” However, Siskel and Ebert agreed that the most egregious error was awarded toMichael Caine’s dry shirt after he had emerged from the water. Ebert offers final commentary with a rapid-fire aquatic conjecture by playing “Which shark is this?“Easily one of their funniest reviews.
Jaws: The Revenge
In the fourth installment of the Jaws series, Ellen Brody believes a great white shark is seeking revenge on her family. When her son is killed, she heads to the Bahamas, where the shark follows, leading to a final, deadly confrontation.
5’She’s Out of Control' (1989)
While away on a business trip, Doug Simpson’s (Tony Danza) fifteen-year-old daughter, Katie (Ami Dolenz), participates in a glow-up with the help of Doug’s girlfriend. The previously unremarkableteen goes from drab to fab, to her father’s chagrin and everyone else’s delight. As his baby girl turns into a woman seemingly overnight, Doug struggles to maintain composure and refrain from attacking would-be suitors.
“Siskel began the review by declaringShe’s Out of Controla “depressing experience.” "
Siskel began the review by declaringShe’s Out of Controla “depressing experience.” He further stated that after seeing the movie, he “considered quitting his job as a film critic.” Ebert echoed Siskel’s reaction, adding that “hours of his life had been stolen,” and moviegoers would’ve had more fun conversing in the lobby. Fans of Siskel and Ebert know how greatly the pair care for cinema, andtheir review and profound disdainfor the Danza flick wasa wild, unforgettable moment on the show.
4’Fargo' (1996)
TheCoen brothers’frozen caper,Fargo, starsWilliam H. Macyas anxious car sales manager Jerry Lundegaard, who has amassed an enormous debt he cannot repay. Jerry devises an ill-conceived extortion plot involving the kidnapping of his wife, which backfires like one of the Cutlass Ciera sedans on his father-in-law’s car lot. In a star-making turn,Frances McDormandarrives on the sceneas Police Chief Marge Gunderson, proving that you catch more flies– or criminals with mid-western honey.
Ebert begins by gushing aboutFargodirectly, calling it a “just about perfect” movie. He then continues to praise the film, calling it a “quirky, infectious, American masterpiece.“Both Siskel and Ebert consideredFargothe best film of 1996,with Siskel taking it a step further, citing it as one of his all-time favorites. The enthusiastic critics bubbled with a shared, excited zest reserved for special, agreeable occasions. Fans of the show witnessedSiskel and Ebert’s appreciation forFargoafter its initial release and once again during their “Best Films of 1996” episode. Their disagreements are fun, but their unbridled love of great cinema is a joyous spectacle.
Minnesota car salesman Jerry Lundegaard’s inept crime falls apart due to his and his henchmen’s bungling and the persistent police work of the quite pregnant Marge Gunderson.
3’Benji: The Hunted' (1987)
LikeJaws: The Revenge,Benji: The Huntedis the fourth iteration ofthe adventurous canine film series. While working on a movie, Benji evades his trainer and ventures into the forests of Oregon. Benji encounters various wildlife species and a trigger-happy hunter during his time lost in the wilderness. Several rescue attempts via helicopter fail to recover the lost pup, but Benji is more invested in caring for a couple of orphaned cougar cubs.
“Audiences might’ve skipped the movie, but the review was immensely entertaining.”
After mocking the movie’s misleading, serious title, Siskel advises audiences to arrive ten minutes late to avoid the brutal slaying of a mother cougar.Ebert counters with a surprising acerbic takedown of Siskel’s take, describing his fellow critic’s review as a “Blasé, sophisticated, cynical review"he would expect from an adult. The problem is thatBenji: The Huntedis a children’s movie. Siskel accuses Ebert of “wrapping himself in the flag of children,” which provoked a louder, voracious rebuttal from Ebert, who doubled down on his previous comment regarding Siskel’s critical pretense. Dodging that right hook, Siskel shouted, “Boredom! Boredom, with all the running,” concluding that the film was “garbage.” Ebert remained undeterred, ending the heatedBenjidebacle by saying, “I think kids will enjoy it.” Audiences might’ve skipped the movie, but the review was immensely entertaining.
2’North' (1994)
Northis a movie about a gifted child named North (Elijah Wood) who decides to divorce his neglectful, unappreciative parents. Following a judgment by the court, North embarks on an adventure to find parental replacements. The movie was a box office disaster and can be found on numerous lists featuringthe “Worst Movies Ever Made.”
Ebert referred toNorthas “one of the most thoroughly hateful movies in recent years,” further stating that the movie “made him cringe just sitting here thinking about it.“He said he “hated this movie as much as any movie we’ve reviewed in the 19 years we’ve been doing this show.“Ebert’s evisceration of the movie didn’t end there: he listed all the ways he hated the movie, including directorRob Reiner’s contribution, callingNorth"an aberration in his career.” Siskel is in Ebert’s corner,referring to the film as “deplorable"and its use of ethnic stereotyping as “appalling and embarrassing.” Siskel goes as far as to say that audiences “feel unclean” watching the film and that “it’s junk. First-class junk.” Yikes. Please tell us how youreallyfeel, guys.
Sick of the neglect he receives from his mom and dad, a young boy leaves home and travels the world in search of new parents.
1’Hoop Dreams' (1994)
Hoop Dreamsis a 1994 documentary chronicling the lives of two inner-city boys from Chicago,William Gates, andArthur Agee, over five years as they attempt to fulfill their dreams of becoming NBA players. Though the film runs nearly three hours, there are over two hundred forty-seven hours of unused footage audiences would line up to see. Free-throw shots have never been so compelling.
Following a special preview screening, Siskel opened the July 19, 2025, review by imploring audiences to consider a documentary calledHoop Dreams.Siskel’s enthusiastic recap of the film, which he called “very special,” is a winning endorsement.Ebert builds on Siskel’s zealby declaring it"one of the best films about American life"he’s ever seen. The palpable excitement emanating from the famous critical duo during their initialHoop Dreamsreport is partly responsible for the documentary’s buzz. When Siskel and Ebert unveiled their unanimous choice for the best film of 1994, they went against scores of critics who had selected popular films likePulp Fiction,The Shawshank Redemption, andForrest Gump. The pair didn’t always get it right, but their blessing ofHoop Dreamswas a slam dunk.
Hoop Dreams
Hoop Dreams is a documentary that follows the lives of two African-American teenagers, William Gates and Arthur Agee, from Chicago as they pursue their dream of becoming professional basketball players. The film captures their struggles with family, education, and the harsh realities of inner-city life, highlighting the profound impact of sports on their futures.
