Richard Roeper
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For 223 reviews, this critic has graded:
  • 72% higher than the average critic
  • 0% same as the average critic
  • 28% lower than the average critic
On average, this critic grades 9.8 points higher than other critics. (0-100 point scale)

Richard Roeper's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 A Most Wanted Man
Lowest review score: 0 White House Down
Score distribution:
  1. Negative: 31 out of 223
223 movie reviews
    • 66 Metascore
    • 63 Richard Roeper
    At times Jimi: All Is By My Side feels pure authentic. More often, though, it’s meandering and melodramatic, with far too many scenes of Hendrix jabbering and squabbling with two key female figures in his life, and not enough of the music.
    • 44 Metascore
    • 50 Richard Roeper
    It clearly aspires to be something more than another story about empty-headed teenagers in a remote cabin who get picked off one by one in gruesome fashion — but at the end of the day, that’s pretty much what we’re getting.
    • 55 Metascore
    • 50 Richard Roeper
    A mostly underwhelming film, with underdeveloped characters and supercharged fight scenes that drag on forever and offer nothing new in the way of special-effects creativity.
    • 28 Metascore
    • 50 Richard Roeper
    There’s not a bad performance in this movie. De Niro, Keaton and Sarandon are particularly good, what a surprise. But it feels as if all the guests at “The Big Wedding” are wearing ID tags telling us their one Plot Point.
    • 52 Metascore
    • 50 Richard Roeper
    Director Jose Padilha (the “Elite Squad” movies) knows how to create slick, sometimes clever fast-moving battle sequences... But other than Keaton’s Sellars, the bad guys are mostly generic nitwits.
    • 30 Metascore
    • 50 Richard Roeper
    Director Todd Phillips has delivered a film so different from the first two, one could even ask if this is even supposed to be a comedy. I'm not saying it's an unfunny comedy wannabe; I'm saying it plays more like a straightforward, real-world thriller with a few laughs than a hard-R slapstick farce.
    • 54 Metascore
    • 50 Richard Roeper
    This is an ambitious and sometimes effective but wildly uneven adventure that plays like one extended ego trip for Stiller. It feels like a movie by focus group, struggling to find a place between genuinely creative fantasy and audience-pleasing payoff moments.
    • 36 Metascore
    • 50 Richard Roeper
    After an intriguing setup, “Runner Runner” devolves into a by-the-books thriller.
    • 61 Metascore
    • 50 Richard Roeper
    Writer/director Carey clearly has some talent, and she and Plaza deserve credit for never pulling their comedic punches. They’re all in. Problem is, it’s mostly a bluff.
    • 48 Metascore
    • 50 Richard Roeper
    Admission has some sublime moments, most of them involving Fey and Rudd dancing around their inevitable romance. The problem is in the foundation.
    • 44 Metascore
    • 50 Richard Roeper
    Reprising his writing/directing chores from the original, Ken Scott gives us an uneven mishmash that alternates between easy gags, shameless sentimentality and some just plain bizarre choices.
    • 50 Metascore
    • 50 Richard Roeper
    This is a well-made, topical thriller with a top-notch cast — but the script and the directorial/editing choices undercut nearly every pivotal scene, and every plot twist we can see coming two scenes in advance.
    • 41 Metascore
    • 50 Richard Roeper
    The harder everyone tries to wring laughs out of the next hail of bullets or the next ridiculous plot twist or the next comedic decapitation, the duller the edge of the humor.
    • 39 Metascore
    • 50 Richard Roeper
    Planes moves along quickly at a running time of 92 minutes, occasionally taking flight with some pretty nifty flight sequences. The animation is first-rate, and the Corningware colors are soothing eye candy.
    • 58 Metascore
    • 50 Richard Roeper
    A sometimes wickedly funny but ultimately sour, loud, draining tale of one of the most dysfunctional families in modern American drama. And that’s saying a lot.
    • 38 Metascore
    • 50 Richard Roeper
    The problem — and it’s an insurmountable, deadly, comedy-killing, consistent problem throughout — is a tired, uninspired, derivative screenplay that brings everyone to Vegas for a wedding and incorporates nearly every weekend-in-Vegas cliche explored in dozens of previous films.
    • 64 Metascore
    • 50 Richard Roeper
    Nymphomaniac Part 1 grows flat and monotonous, and comes across as just what it is: half a film.
    • 63 Metascore
    • 50 Richard Roeper
    It’s fascinating and boring, intriguing and exasperating, but ultimately it felt like a jambalaya of ideas that didn’t quite mesh into a satisfying experience.
    • 35 Metascore
    • 50 Richard Roeper
    It’s a fractured fairy tale, penned in clunky strokes.
    • 69 Metascore
    • 50 Richard Roeper
    The exploration of gender politics grows tedious as the gender dynamic between the two leads reverses, and the same points are hammered home again and again.
    • 40 Metascore
    • 50 Richard Roeper
    This is a well-made thriller traveling over awfully familiar turf.
    • 49 Metascore
    • 50 Richard Roeper
    Things play out in predictable fashion, and we’re more than ready to bid farewell to these people and feel grateful they don’t live on our block.
    • 55 Metascore
    • 50 Richard Roeper
    We’re just watching Jude Law, who gained some 30 pounds for this role, acting his rear end off but also spinning his wheels in a story that never amounts to more than a collection of vignettes about Dom’s life after prison.
    • 48 Metascore
    • 50 Richard Roeper
    The actual case isn’t all that complex or compelling, and the eventual explanation for what happened is almost an afterthought. By the time all the ghosts and feuds have been put to rest, it’s surprising how little we care about these characters.
    • 35 Metascore
    • 50 Richard Roeper
    Paradise is a ringing disappointment. Cody shows some potential as a director, but her own script lets her down.
    • 50 Metascore
    • 50 Richard Roeper
    Despite an excellent ensemble cast of comedic treasures as well as veterans of drama taking a walk down a lighter aisle, A.C.O.D (i.e. Adult Children of Divorce) delivers only a few sporadic chuckles amidst a slew of clunky scenes.
    • 56 Metascore
    • 50 Richard Roeper
    Nearly everything in this movie feels borrowed from other movies and ever so slightly reshaped, and almost never for the better.
    • 58 Metascore
    • 50 Richard Roeper
    Once you get past the amazement this thing was made at all, the movie itself is an intermittently clever but mostly tedious, convoluted David Lynch knockoff that wanders all over the place.
    • 42 Metascore
    • 50 Richard Roeper
    Despite the fine performance by Witherspoon and a number of the supporting players, Devil’s Knot comes across as a cinematic, slightly dramatized Cliffs Notes edition of a story that’s been told often, and almost always more effectively, in other formats.
    • 58 Metascore
    • 50 Richard Roeper
    There are moments of surprising tenderness in Fading Gigolo, and Turturro gives us some beautiful shots of a city he clearly loves. But this film is all over the map, veering from pathos to absurdist comedy to romance to weirdness for the sake of weirdness.

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