Roger Ebert’s Perfect Score for a Bizarre Fantasy Horror Film

The Evolution of Film Criticism

For directors with unconventional sensibilities, gaining the approval of movie critics has always been crucial. However, in 2026, this has largely been reduced to securing a "Certified Fresh" rating on Rotten Tomatoes. This metric can be misleading because the platform has approved an overwhelming number of critics, many of whom have mainstream tastes. As a result, it becomes challenging for odd or difficult films to gain recognition.

In contrast, the 1980s offered a different landscape. Major newspapers had multiple film critics on staff, and news magazines like Time and Newsweek also featured dedicated critics. While some reviewers used a star-ranking system to provide quick insights, readers still needed to engage with the reviews to determine if a film was worth watching. Most critics were skilled at avoiding spoilers, ensuring that the experience remained intact for viewers.

The Power of Ebert and Siskel

For small films with limited marketing budgets and no big-name stars, receiving positive reviews from Roger Ebert and Gene Siskel was invaluable. Although Ebert is often credited with inspiring Rotten Tomatoes, he and Siskel genuinely loved movies and excelled at championing overlooked films. Ebert’s reviews for the Chicago Sun-Times provided him with more space to explore the unique qualities of strange films. His four-star review of Bernard Rose’s "Paperhouse" was particularly impactful, encouraging viewers to give the film a chance.

A Unique Cinematic Experience

Four years before directing the horror classic "Candyman," Bernard Rose was a talented music video director known for his work with Frankie Goes to Hollywood’s "Relax." He took on an unusual project with "Paperhouse," based on Catherine Storr’s children’s novel "Marianne Dreams." The film follows Anna Madden (Charlotte Burke), an 11-year-old girl who, after a high fever, begins to dream while awake. Her dreams start with a house but soon become unsettling when she draws a face peering from a window and encounters Marc (Elliott Spears), a boy with muscular dystrophy.

Roger Ebert described "Paperhouse" as a film that should be "surrendered to" rather than analyzed. This sentiment resonates deeply with the film’s narrative, which unfolds as an uneasy dream that constantly teeters on the edge of becoming a nightmare. As Anna and Marc’s bond grows, Anna uses her dreams to escape her difficult reality, including her distant and alcoholic father (Ben Cross). She longs to run away with Marc, but his worsening condition makes this impossible.

A Refreshing and Enchanting Film

Rose’s film is refreshingly unpredictable and consistently enchanting. Viewers are encouraged to embrace its unique storytelling and go with the flow. Ebert captured this essence in his review:

"Paperhouse" is not in any sense simply a children’s movie, even though its subject may seem to point it in that direction. It is a thoughtfully written, meticulously directed fantasy in which the actors play their roles with great seriousness. Watching it, I was engrossed in the development of the story and found myself accepting the film’s logic on its own terms.

Where to Watch "Paperhouse"

"Paperhouse" is currently available for streaming on Prime Video. For those interested in staying updated with the latest developments in the world of movies and television, consider signing up for a free newsletter. You can also add us as a preferred search source on Google for easy access to relevant content.