Who Framed Roger Rabbit was placed on 43 critics' top ten lists, third to only The Thin Blue Line and Bull Durham in 1988. Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale. Roger Ebert of the Chicago Sun-Times gave the film four stars out of four, predicting it would carry "the type of word of mouth that money can't buy. This movie is not only great entertainment but [also] a breakthrough in craftsmanship." Gene Siskel of the Chicago Tribune praised the film's "dazzling, jaw-dropping opening four-minute sequence"; he noted that the sequence alone took nearly nine months to animate. Siskel gave the film three-and-a-half stars out of four. Ebert and his colleague Siskel spent a considerable amount of time in the Siskel & Ebert episode in which they reviewed the film analyzing its painstaking filmmaking. In evaluating their top ten films of the year, Siskel ranked it number two while Ebert ranked it as number eight. Janet Maslin of The New York Times commented that this is "a film whose best moments are so novel, so deliriously funny and so crazily unexpected that they truly must be seen to be believed." Desson Thomson of The Washington Post considered Roger Rabbit to be "a definitive collaboration of pure talent. Zemeckis had Walt Disney Pictures' enthusiastic backing, producer Steven Spielberg's pull, Warner Bros.'s blessing, Canadian animator Richard Williams' ink and paint, Mel Blanc's voice; Jeffrey Price and Peter S. Seaman's witty, frenetic screenplay; George Lucas' Industrial Light and Magic, and Bob Hoskins' comical performance as the burliest, shaggiest private eye." Gene Shalit on the Today Show also praised the film, calling it "one of the most extraordinary movies ever made". Filmsite.org called it "a technically-marvelous film" and a "landmark" that resulted from "unprecedented cooperation" between Warner Bros. and Disney. On CNN's 2019 miniseries The Movies, Tom Hanks called it the "most complicated movie ever made." Richard Corliss, a writer for Time said, "The opening scene upstages the movie that emerges from it," he said. Corliss was mainly annoyed by the homages to the Golden Age of American animation. Chuck Jones made a rather scathing attack on the film in his book Chuck Jones Conversations. Among his complaints, Jones accused Zemeckis of robbing Richard Williams of any creative input and ruining the piano duel that both Williams and he storyboarded. Accolades Legacy The