Well, it's clear from his review that Ebert is not a Randian, nor libertarian, indeed, it's very clear that he has an attitude about the entire libertarian view, but if his prejudices didn't color his view of the movie, it's one bad movie. From the review:
I feel like my arm is all warmed up and I don’t have a game to pitch. I was primed to review "Atlas Shrugged." I figured it might provide a parable of Ayn Rand’s philosophy that I could discuss. For me, that philosophy reduces itself to: "I’m on board; pull up the lifeline." There are however people who take Ayn Rand even more seriously than comic-book fans take "Watchmen." I expect to receive learned and sarcastic lectures on the pathetic failings of my review.
And now I am faced with this movie, the most anticlimactic non-event since Geraldo Rivera broke into Al Capone’s vault. I suspect only someone very familiar with Rand’s 1957 novel could understand the film at all, and I doubt they will be happy with it. For the rest of us, it involves a series of business meetings in luxurious retro leather-and-brass board rooms and offices, and restaurants and bedrooms that look borrowed from a hotel no doubt known as the Robber Baron Arms.
During these meetings, everybody drinks. More wine is poured and sipped in this film than at a convention of oenophiliacs. There are conversations in English after which I sometimes found myself asking, "What did they just say?" The dialogue seems to have been ripped throbbing with passion from the pages of Investors’ Business Daily....
. Rarely, perhaps never, has television news covered the laying of new railroad track with the breathless urgency of the news channels shown in this movie.
So OK. Let’s say you know the novel, you agree with Ayn Rand, you’re an objectivist or a libertarian, and you’ve been waiting eagerly for this movie. Man, are you going to get a letdown. It’s not enough that a movie agree with you, in however an incoherent and murky fashion. It would help if it were like, you know, entertaining?
The movie is constructed of a few kinds of scenes: (1) People sipping their drinks in clubby surroundings and exchanging dialogue that sounds like corporate lingo; (2) railroads, and lots of ’em; (3) limousines driving through cities in ruin and arriving at ornate buildings; (4) city skylines; (5) the beauties of Colorado. There is also a love scene, which is shown not merely from the waist up but from the ears up. The man keeps his shirt on. This may be disappointing for libertarians, who I believe enjoy rumpy-pumpy as much as anyone.
Oh, and there is Wisconsin. Dagny and Hank ride blissfully in Taggart’s new high-speed train, and then Hank suggests they take a trip to Wisconsin, where the state’s policies caused the suppression of an engine that runs on the ozone in the air, or something (the film’s detailed explanation won’t clear this up). They decide to drive there. That’s when you’ll enjoy the beautiful landscape photography of the deserts of Wisconsin. My advice to the filmmakers: If you want to use a desert, why not just refer to Wisconsin as "New Mexico"?
Read the full review here.