Richard Roeper

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For 783 reviews, this critic has graded:
  • 70% higher than the average critic
  • 1% same as the average critic
  • 29% lower than the average critic
On average, this critic grades 6.7 points higher than other critics. (0-100 point scale)

Richard Roeper's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 The Infiltrator
Lowest review score: 0 Mother's Day
Score distribution:
783 movie reviews
    • 48 Metascore
    • 38 Richard Roeper
    For the first hour or so, The Mountain Between Us is a tedious and corny survival story, but at least it’s bearable, thanks mainly to the all-in performances from Kate Winslet and Idris Elba.
    • 81 Metascore
    • 100 Richard Roeper
    Take a moment to absorb and interpret and appreciate the vibrant and gorgeous and sometimes brutal and mind-bending and occasionally incomprehensible hallucinatory epic that is Blade Runner 2049, which stands with the likes of “The Godfather Part II” and “Terminator 2” and “Aliens” as a sequel worthy of the original classic.
    • 69 Metascore
    • 88 Richard Roeper
    About half the scenes in Our Souls at Night consist of Jane Fonda and Robert Redford simply talking to one another. Those scenes are more exhilarating, more intoxicating and more memorable than many if not most gigantic action sequences in big-budget movies.
    • 39 Metascore
    • 25 Richard Roeper
    Woodshock is its own worst enemy. The more the filmmakers play around with what’s real and what’s a dream or an element of Theresa’s delusions, the less we’re invested in what’s actually happening with Theresa.
    • 65 Metascore
    • 88 Richard Roeper
    Doug Liman’s American Made is a fast-paced, breezy and mostly upbeat action-comedy-thriller that turns the likes of Escobar and Noriega into laugh-producing supporting players — and somehow manages to pull off that trick without offensively minimizing the evil ways of those legendarily ruthless drug kingpins.
    • 75 Metascore
    • 100 Richard Roeper
    I was stirred by the lush and pristine sounds of the band, including of course Eddie Vedder’s oft-imitated but never really duplicated guttural growl of a voice, and I was greatly impressed by the gorgeous visuals in the concert sequences. This is one of the most vibrant-looking rock performance films of recent years.
    • 71 Metascore
    • 50 Richard Roeper
    Stiller is very good at playing this kind of character. The issue is whether we’re tired of him playing this kind of character.
    • 76 Metascore
    • 88 Richard Roeper
    It is a straightforward and of course inspirational and at times profoundly moving tale, and even though we can predict just about every note it will strike before the opening credits roll, Green and screenwriter John Pollono and the outstanding cast elevate the material and make it something special and memorable.
    • 44 Metascore
    • 38 Richard Roeper
    If you liked the original, the best way to preserve that memory is to stay away from this sequel.
    • 73 Metascore
    • 88 Richard Roeper
    Battle of the Sexes stands on its own as a finely tuned period piece, a vibrant comedy, an effective character study and, yep, an inspirational sports movie.
    • 46 Metascore
    • 75 Richard Roeper
    With Rebel in the Rye, we get a solid, well-acted and basically standard biopic about the man who created Holden Caulfield, largely in his own image.
    • 45 Metascore
    • 50 Richard Roeper
    Unwise casting choices in two key roles. Increasingly ludicrous plot developments — even for a slick, escapist thriller. Dubious science about the potency of a nuclear warhead. Intellectually lazy pop psychology, much of it heavy on the daddy issues, as character motivation.
    • 72 Metascore
    • 75 Richard Roeper
    First They Killed My Father occasionally strays into overly sentimental territory — and with a running time of 2 hours, 16 minutes, the storyline stalls a bit at times. Mostly, though, this is an accomplished and moving and solid drama from a director who seems on the verge of giving us a great movie sometime soon.
    • Chicago Sun-Times
    • 75 Metascore
    • 50 Richard Roeper
    The action and the scale of the acting are often more befitting an elaborate stage play than a film.
    • 63 Metascore
    • 75 Richard Roeper
    Nighy leaves behind his trick box of winks and sly smiles and sarcasm for a relatively straightforward performance, and wisely so. As outlandish as the material can get in The Limehouse Golem, this is serious stuff.
    • 41 Metascore
    • 50 Richard Roeper
    Home Again has a certain charm and polish. It’s hard not to like people who are so … likable. But it’s also hard not to feel a constant sense of disconnect from these characters and their so-called “crises.”
    • 21 Metascore
    • 38 Richard Roeper
    Gun Shy is a loud bang signifying nothing, a tired and second-rate actioner — and an embarrassing resume entry for the likes of Antonio Banderas (“Desperado,” “Once Upon a Time in Mexico”) and Olga Kurylenko (“Oblivion,” “Quantum of Solace”).
    • 69 Metascore
    • 100 Richard Roeper
    It
    IT...carried me along from the opening frame, rarely missing a beat.
    • 15 Metascore
    • 25 Richard Roeper
    Yes, it is a movie. But just barely so. I’d say it’s more like an excruciating, embarrassing, profoundly unfunny, poorly shot and astonishingly tone-deaf screech-fest featuring some of the least charismatic performances this side of one of those dreadful “reality” shows.
    • 46 Metascore
    • 50 Richard Roeper
    Unlocked has the DNA of many a 21st century late summer release: It’s a well-made but terribly uneven film that’s been sitting on a shelf for two years, despite the credentials of the veteran director and a star-studded cast.
    • 44 Metascore
    • 75 Richard Roeper
    What could have been a great B-movie winds up being merely solid.
    • 48 Metascore
    • 75 Richard Roeper
    Overall it’s a lovely and refreshingly breezy adventure with an adorably plucky lead, an infectious soundtrack and arresting visuals.
    • 82 Metascore
    • 88 Richard Roeper
    Marjorie Prime sounds like the title of a British miniseries, but is in fact one of the strangest, most disturbing and most thought-provoking films of 2017.
    • 71 Metascore
    • 88 Richard Roeper
    Aubrey Plaza is a sensation as Ingrid, who is alternately charming and sad and pathetic and absolutely insane. Plaza has a unique and magnetic screen presence that creates great empathy, even when she’s portraying a mostly off-putting character.
    • 80 Metascore
    • 63 Richard Roeper
    Good Time is a hallucinatory and often gripping one-night stand of mishaps, mayhem and madness. Ultimately, though, the sometimes clever story runs out of steam and limps across the finish line, and the in-your-face characters and camerawork, not to mention the in-your-ears score, left me not all that involved and a bit exhausted.
    • 47 Metascore
    • 38 Richard Roeper
    There’s nothing and no one to like in The Hitman’s Bodyguard. This is one loud, generic, forgettable late summer action flick.
    • 78 Metascore
    • 88 Richard Roeper
    Logan Lucky is great fun and one of the most purely entertaining movies of the year.
    • 67 Metascore
    • 75 Richard Roeper
    Macdonald is an absolute force as the twentysomething Patricia Dombrowski, who wakes up every morning determined and upbeat, even though her life path already looks to be a series of dead ends.
    • 56 Metascore
    • 50 Richard Roeper
    It’s a well-made film with strong performances, and it by no means shies away from some of the more shocking and tragic episodes from Jeannette’s upbringing. But when “The Glass Castle” reaches for late-movie moments of closure and self-revelations and forgiveness...it rings sour and false.
    • 81 Metascore
    • 88 Richard Roeper
    This is about the residents of Ferguson, who reacted to the killing of Michael Brown by galvanizing a movement on the streets of their town and via social media. They knew the whole world was watching, and they had seized the opportunity to tell their stories.

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