For 2,667 reviews, this critic has graded:
  • 47% higher than the average critic
  • 4% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 5.7 points lower than other critics. (0-100 point scale)

Roger Moore's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Whiplash
Lowest review score: 0 The Room
Score distribution:
2667 movie reviews
    • 75 Metascore
    • 63 Roger Moore
    Stan & Ollie treads too lightly on the conflicts and never quite delivers that big belly laugh that their silent comedies managed.
    • 59 Metascore
    • 38 Roger Moore
    Every now and then, one of those movies takes a stab at being “about something.” Not here. It’s instantly forgettable to anyone who isn’t a fanatic lost in the minutia of their corner of junk culture.
    • 52 Metascore
    • 75 Roger Moore
    The Swedish Rapace thrives in roles that call for action, toughness and vulnerability. She’s perfect in this part, where her forward motion and capacity for acting out violence drives the picture.
    • 42 Metascore
    • 50 Roger Moore
    It all makes for a somber and self-serious (Shyamalan’s Achilles Heel) popcorn pic that is easy enough to sit through even as its pointlessness grows with every act, and its final act underlines and admits it.
    • 38 Metascore
    • 38 Roger Moore
    An Acceptable Risk is “Scandal” with less sex and fewer fireworks. Almost no fireworks, to be honest.
    • tbd Metascore
    • 38 Roger Moore
    The Brawler is a poor excuse for a boxing picture and a middling screen biography, but it does manage a few saving graces.
    • 12 Metascore
    • 38 Roger Moore
    The sentimental stuff half-works, but “Kids” never works up any silly sense of “Hate.” Without that conviction, the characters don’t make sense, the scenes don’t set up a debate that sets off sparks and I Hate Kids plays like “Actually, I’m not all that keen on kids.”
    • 72 Metascore
    • 63 Roger Moore
    Cornish relies on Western audiences’ memory of chivalry, swords in stones, ladies in lakes, “the Once and Future King” and Round Tables to deliver a dose of good clean fun — with violence and jokes and a social relevence so obvious even a child could see it.
    • 18 Metascore
    • 25 Roger Moore
    The movie is like Bill Foster’s mad experiment, a dry technical exercise with a functioning heart, but no soul whatsoever.
    • 49 Metascore
    • 50 Roger Moore
    Dog’s Way Home is aimed at the very young, so don’t expect anything challenging. It moves along but felt limp and kind of lifeless, for all the sentimentality Smith & Co. serve up.
    • 46 Metascore
    • 50 Roger Moore
    The upside of The Upside is that Hart’s fans will find just enough here to warrant the ticket price.
    • tbd Metascore
    • 75 Roger Moore
    Jihadists makes for a fascinating if talking-head heavy indictment of a myopic ideology that claims “We just want to be left to ourselves” to do as they see fit “in our own lands.”
    • 62 Metascore
    • 63 Roger Moore
    Whatever predictable, melodramatic turns this Jason Raftopoulos film takes, it rarely blinks and never gives itself over to the “romance” of gambling and the gambler’s lifestyle.
    • tbd Metascore
    • 25 Roger Moore
    It’s a horror picture that can’t quite find the laughs it is going for and never, for more than a moment or two, provides frights.
    • tbd Metascore
    • 38 Roger Moore
    There’s virtually nothing to this short, thin yet (barely) feature-length dramedy. A few funny lines wither in the dark and minutes upon minutes of screen time burn off space imagery and Jobe pondering the nature of it in his addled head.
    • 63 Metascore
    • 63 Roger Moore
    It’s more tame than daring, at least that’s how Perfect Strangers plays north of the border. And the resolution is abrupt and unsatisfying. But the actors are uniformly superb, with Suárez and Bichir standing out.
    • 52 Metascore
    • 63 Roger Moore
    Pledge is a bloody, nervy and lean thriller about “hazing” taken to its logical extreme. If you’re OK with torturing somebody so that the “shared experience” will “bond” you to your “brothers,” maybe there’s a little sociopath in you, Pledge.
    • 87 Metascore
    • 88 Roger Moore
    For all the resilience Baldwin and Jenkins show us here, it is the poet Langston Hughes’ line about “a dream deferred” that comes most easily to mind.
    • 49 Metascore
    • 38 Roger Moore
    The year may be young, but Hollywood is going to be hard pressed to come up with a climax that is more anti-climactic than the many anti-climaxes that bring down the curtain on Escape Room, the first official dog of the new year.
    • 48 Metascore
    • 50 Roger Moore
    I’d say writer-director Danluck’s story unravels entirely too easily, but that’s crediting her with “raveling” that she never quite gets around to.
    • 80 Metascore
    • 75 Roger Moore
    Zamecka’s all-access film means we see Ola’s desperation, and Magda’s resignation. Each one needs a break, and each is counting on the other to give it to her. Seeing Ola with a baby half-brother in her lap is just chilling.
    • 59 Metascore
    • 50 Roger Moore
    The violent payoffs are well-staged and edited, and the archetypes solid. But McGowan can’t force herself or her cast to just get on with what they know they must get on with. The “Creek” never quite dries up, but we never get to the rapids either.
    • 66 Metascore
    • 75 Roger Moore
    The Vanishing manages to shock even as it fails to truly surprise, a movie that takes a worn situation and wrings fresh pain out of it as it reaches — over-reaches — to solve a mystery that is probably even more mysterious than whatever the screenwriter’s cooked up.
    • 49 Metascore
    • 63 Roger Moore
    The main reason people check this out will be Whittaker’s new role as Doctor Who. And she doesn’t disappoint. She gives this walking-wounded woman a hint of the coquette she never realized she was, a smartness informed by sadness and — with a little boy she’s utterly ill-qualified to baby sit, much less mentor — a purpose.
    • 59 Metascore
    • 63 Roger Moore
    Even though the plot gets mired in lapses of logic in the third act, Noto never lets that hang up his movie. It’s a well-cast and very well-acted film.
    • 61 Metascore
    • 63 Roger Moore
    A system that’s been rigged for the super rich to do what they want, the will of the people be damned, is not fit for light comedy.
    • 24 Metascore
    • 25 Roger Moore
    It’s just not funny.
    • 48 Metascore
    • 50 Roger Moore
    Buffalo Boys is rather tedious going in between the fights, and those action beats are spaced too far apart.
    • 68 Metascore
    • 88 Roger Moore
    Through vivid, wrenching performances by Julia Roberts and Lucas Hedges, it personalizes the statistics, and personalizes the glib talk show therapists who counsel “Let them go, you can’t save them.” Not if it’s your kid.
    • 83 Metascore
    • 75 Roger Moore
    Filmmakers Jimmy Chin (Honnold’s longtime cinematographer) and Elizabeth Chai Vasarhelyi get us up close, letting the camera do what Honnnold must do — extreme closeups of the rock face, intensely hunting for that next imperfection in the smooth granite, that next crack or crag that will move him further up the 3200 hundred foot wall.

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