For 1,558 reviews, this critic has graded:
  • 52% higher than the average critic
  • 3% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 2.3 points lower than other critics. (0-100 point scale)

Roger Moore's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 The Guard
Lowest review score: 12 Creature
Score distribution:
1558 movie reviews
    • 64 Metascore
    • 100 Roger Moore
    Beautifully cast, touchingly played and handsomely mounted, Belle is as close to perfect as any costumed romance has a right to be.
    • 88 Metascore
    • 100 Roger Moore
    The script and Simmons, known for TV’s “The Closer” and as tantrum-tossing editor J. Jonah Jameson in “Spider-Man,” make Fletcher a monster, and then look for ways of explaining him.
    • 78 Metascore
    • 100 Roger Moore
    The Guard soars along on a script, like those by the other McDonagh (Martin wrote and directed "In Bruges" and the Oscar winning short "Six Shooter," both starring Gleeson) built out of verbal flourishes and Irish curses.
    • 95 Metascore
    • 100 Roger Moore
    The performances, direction and writing of one of the best pictures of 2010 make this Social Network every bit as addictive, and a little chilling as well.
    • 90 Metascore
    • 100 Roger Moore
    This unblinking look at America's Red State Crystal Meth Belt is an instant Southern Gothic classic.
    • 77 Metascore
    • 100 Roger Moore
    Duvall, an American Lear not going gently into that good night, reminds us that it will be a sad day indeed for movie fans when it's about time for him to Get Low.
    • 76 Metascore
    • 100 Roger Moore
    A riveting saga of pain, grit and the brute moral relativism of revenge, the first law of all, and the only one that mattered back then. The Revenant is one of the best pictures of the year.
    • 79 Metascore
    • 100 Roger Moore
    That rare film in which every performer in it leaves the viewer in awe.
    • 79 Metascore
    • 100 Roger Moore
    Artful, epic, operatic even, this thriller set in the world of ballet challenges the viewer with its intelligence and depth and wit.
    • 72 Metascore
    • 100 Roger Moore
    J.J. Abrams, with Steven Spielberg producing, has made one of those jaw-dropping out-of-body summer entertainments that kids old enough to swear and see PG-13 films will remember on into adulthood.
    • 88 Metascore
    • 100 Roger Moore
    Engrossing and moving story of a alternately warm and combative relationship.
    • 93 Metascore
    • 100 Roger Moore
    If history’s tide runs against the Globe, at least those who worked there have the satisfaction of exposing a global wrong, and helping to end it. And they have McCarthy’s film, one of the best pictures of 2015, as a permanent record, a tribute in cinematic form, to their art and craft in its finest hour.
    • 67 Metascore
    • 100 Roger Moore
    The dazzling thing in Magician is how Workman breezily covers the various periods in Welles’ career, periods worthy of entire books, from his childhood as “The Boy Wonder,” to his post-“Kane” “Gypsy” years, when Hollywood was sure it had plenty of reasons not to hire him as a director, on up to today, as Richard “Boyhood” Linklater dubs him “the patron saint of indie filmmakers.”
    • 84 Metascore
    • 100 Roger Moore
    Dallas Buyers Club is one of the best pictures of the year.
    • 85 Metascore
    • 100 Roger Moore
    It's a story about storytelling, with differing versions of events in which people die by the sword. Filled with Yimou's characteristic symbolism and zest for striking colors, it's a fictional account of the unification of China.
    • 88 Metascore
    • 100 Roger Moore
    Serious and silly, self-aware and ironic, it’s the movie that questions stardom, fame and celebrity, built around a role Michael Keaton had to become a has-been to play.
    • 83 Metascore
    • 100 Roger Moore
    56 Up feels like the most hopeful film of them all - amusing, entertaining, and touching.
    • 97 Metascore
    • 100 Roger Moore
    McQueen and his stellar cast take us on a difficult journey, an odyssey that will make you want to avert your eyes. It is to their great credit that we don’t.
    • 86 Metascore
    • 100 Roger Moore
    And Dern, a great character actor who made his mark opposite everyone from Redford and John Wayne to Jane Fonda, embraces the roll of a lifetime.
    • 100 Metascore
    • 100 Roger Moore
    Richard Linklater’s Boyhood is an amazing achievement in telling an unremarkably remarkable life story.
    • 76 Metascore
    • 88 Roger Moore
    A stop any literary-minded movie-goer will want to make.
    • 82 Metascore
    • 88 Roger Moore
    Haneke tells this tale a bit too patiently for my taste. But the metaphors are unmistakable, as is the power of the film’s message.
    • 62 Metascore
    • 88 Roger Moore
    Adams. From the first time we saw her on the screen, we knew what she was feeling and thinking, just from staring into those huge, hopeful and sometimes hurt eyes. Her big eyes make this Big Eyes one of the best pictures of the year.
    • 67 Metascore
    • 88 Roger Moore
    It isn't a great film. But it is a smart and high-minded one, wonderfully cast, with understated direction. Clooney is good enough in the lead to stir talk of a political future.
    • 79 Metascore
    • 88 Roger Moore
    Reeves has Americanized a very good foreign film without defanging it.
    • 81 Metascore
    • 88 Roger Moore
    Carell, though, is the real shock to the system here. He is quirky, queer in the old fashioned sense, and pathetically funny.
    • 94 Metascore
    • 88 Roger Moore
    It’s a wholly original child’s-eye-view of emotions and growing up, a demanding movie for small children and a rewarding and touching one for their parents.
    • 66 Metascore
    • 88 Roger Moore
    Yes, it's pretty much a must to have seen the first film. Where Dragon Tattoo felt like fall, Played with Fire was shot in the Swedish summer, which suits the faster pace, ramped up violence and fresh collection of supporting players -- cops, a kickboxer, and a couple of borderline Bond villains.
    • 83 Metascore
    • 88 Roger Moore
    Here's a documentary so slick, novel, touching and outrageous that your first thought might be "This has to be fake."
    • 77 Metascore
    • 88 Roger Moore
    This “Jungle Book” could give remakes a good name.
    • 75 Metascore
    • 88 Roger Moore
    The truth is far stranger. And Maloof and Siskel reveal it only gradually. They structure their documentary thusly — negatives found, fame and acclaim follow, a post-mortem triumph. And then the REAL Vivian starts to emerge.
    • 65 Metascore
    • 88 Roger Moore
    The first third is brisk and witty, the middle third gloomy and the finale of Part 1 not so much a cliffhanger as a grim, inspiring tease, a masterly build-up to put "I can't wait for part 2" on every Muggles' lips.
    • 53 Metascore
    • 88 Roger Moore
    The best faith-based film ever made, an uplifting, entertaining and wonderfully-acted account of surfer Bethany Hamilton's life before and after a shark bit her arm off in the waters off her favorite Hawaiian beach.
    • 68 Metascore
    • 88 Roger Moore
    Jones tells this story with care and a lack of hurry, a pace to fit an age when people traveled no faster than two mules pulling a wagon could carry them. It’s “True Grit” and “The African Queen” with a moment of “Lawrence of Arabia,” period-perfect and a total immersion in this world.
    • 65 Metascore
    • 88 Roger Moore
    Saoirse Ronan shines in the title role, a wily, physically-fit and lethal girl.
    • 51 Metascore
    • 88 Roger Moore
    Ford, in a performance as affecting as any he’s ever given, lifts this romance in ways we never see coming.
    • 86 Metascore
    • 88 Roger Moore
    If you're looking for a filmmaker to document, for all of humanity, "one of the greatest discoveries in the history of human culture," the great Werner Herzog is your guy.
    • 75 Metascore
    • 88 Roger Moore
    With Win Win, McCarthy has found his emotional sweet spot, a sweet and complex story to set it in and the perfect title for it.
    • 74 Metascore
    • 88 Roger Moore
    Me and Earl and the Dying Girl isn’t deep. But this sure-to-be-a-crowd-pleasing laugher/weeper reminds us that there’s nothing wrong with a romantic comedy that reaches for inspiring and cathartic between the laughs.
    • 65 Metascore
    • 88 Roger Moore
    It is Carrey, turning his patented rubber-faced, rubber-voiced shtick loose on a role with heart, substance and entertainment value, who makes this romantic farce a movie too good to sit on any studio's shelf.
    • 83 Metascore
    • 88 Roger Moore
    The performances and Greengrass’s way with action immerse us and make Captain Phillips a tight, taut,edge of your seat thriller even if you remember the ending.
    • 80 Metascore
    • 88 Roger Moore
    There are people, powerful people, who don't want old cases dug up. It's a tribute to the story's construction that the mystery only deepens, the more Benjamin digs.
    • 59 Metascore
    • 88 Roger Moore
    That makes Sarah's Key that rare Holocaust tale that punches through the cobwebs of history and its dry, inhuman statistics, and brings that terrible past to life.
    • 76 Metascore
    • 88 Roger Moore
    That message, this script and these actors make Rabbit Hole one of the best films of 2010.
    • 74 Metascore
    • 88 Roger Moore
    Joe
    Joe is the movie that will make you remember how good Nicolas Cage once was and can be again.
    • 60 Metascore
    • 88 Roger Moore
    The dialogue is hard-bitten and Mamet-sharp.
    • 85 Metascore
    • 88 Roger Moore
    Every scene is magical, every image a work of art in Song of the Sea.
    • 88 Metascore
    • 88 Roger Moore
    We should all be so lucky as to live in a world designed, peopled and manipulated by Wes Anderson. His latest film, The Grand Budapest Hotel, is a dark, daft and deft triumph of design details.
    • 87 Metascore
    • 88 Roger Moore
    Moneyball is a thinking person's baseball movie, and a baseball fan's thinking movie.
    • 77 Metascore
    • 88 Roger Moore
    An exquisite character study in grief.
    • 62 Metascore
    • 88 Roger Moore
    Davis and Spencer give faces and fully-fleshed out lives to women who must have been more than what they did for a living as The Help.
    • 74 Metascore
    • 88 Roger Moore
    A terrific film, not as moving or damning as this year’s Amy Winehouse expose, but a warm piece of cinematic scholarship.
    • 83 Metascore
    • 88 Roger Moore
    This is as thorough a take-down of a business and its practices as you’re likely to ever see.
    • 65 Metascore
    • 88 Roger Moore
    Thanks to Banderas and his Corinthian leather purr and writers who know how to use it, "Puss" is the best animated film of 2011.
    • 61 Metascore
    • 88 Roger Moore
    The magic in the film is in the actors. Only somebody who has stripped himself emotionally bare for the camera could achieve the level of performance that Goldwyn gets from every single SAG member on this set.
    • 47 Metascore
    • 88 Roger Moore
    Ptacek, as she was in the short, makes a great foil. And the addition of Rossum and Perlman to the cast adds pathos and paranoia, guilt and menace.
    • 82 Metascore
    • 88 Roger Moore
    It strips away the myth and icon and reveals Jobs for the hustler-huckster he was, just a smooth, smiling turtleneck, trying to sell us something. In many ways, his film makes all other Jobs movies unnecessary.
    • 65 Metascore
    • 88 Roger Moore
    In a cinema recently overrun with combat documentaries, Marshall Curry’s Point and Shoot manages a first. Here’s a film that captures the romance of war amongst today’s young and testosterone-fueled. Want to know why young men from all over the world have flocked to fight for ISIS? Point and Shoot explains it.
    • 84 Metascore
    • 88 Roger Moore
    It’s more an instant cult film than a picture with any prayer of reaching millions.
    • 75 Metascore
    • 88 Roger Moore
    A leg up on the first “Trip,” an altogether more delightful vacation with two blokes who might wear us and each other out along the way. But then, that’s half the fun.
    • 76 Metascore
    • 88 Roger Moore
    Most credit goes to Coogan for the success of this odd coupling.
    • 64 Metascore
    • 88 Roger Moore
    We’re taken back to a naive era, when the boundaries of “smut” were narrower, when even the images of an unlikely “adult” star (she never did sex films or “real” porn) seem now like good, clean fun.
    • 77 Metascore
    • 88 Roger Moore
    And the viewer is left with one inescapable conclusion. Conservatives further to the right than Buckley could ever have dreamed control Congress. And gays, like Vidal, can get married. They both won.
    • 90 Metascore
    • 88 Roger Moore
    Her
    Is it better to have loved and lost than never to have logged on at all?
    • 66 Metascore
    • 88 Roger Moore
    As with her best films, Coppola is utterly at ease in this milieu and it shows.
    • 79 Metascore
    • 88 Roger Moore
    I Am Love is a cinematic orgy, a sensual Italian feast of food, sex, guilt and grief. An intimate, quiet and even slow movie, its subtle shadings veil turbulent emotions.
    • 70 Metascore
    • 88 Roger Moore
    It’s a film that flirts with cloying, here and there — especially at the end. But it reminds us, even before that U.N. recognition becomes official, that there’ll always be an England, that English manners survive, and there’ll always be a Maggie Smith, imperious, hilarious and glorious in that wonderful third act her life and career have given her.
    • 71 Metascore
    • 88 Roger Moore
    If it isn’t as decorous and deft as the Jane Austen romances of an earlier literary (and cinematic) age, the longing is still there in a story that feels more lived-in, brutish and realistic.
    • 74 Metascore
    • 88 Roger Moore
    Young Onata Aprile makes Maisie a passive wonder, a sweetly poker-faced, nonjudgmental and hopeful child, even as she’s being ditched at bars, forgotten at school or passed back and forth like a prize, or a bad penny.
    • 82 Metascore
    • 88 Roger Moore
    Witty, warm and wistful and in just the right proportions, Spectacular is the best-acted film of the summer.
    • 64 Metascore
    • 88 Roger Moore
    This is what filmed spectacle used to look like — a trip to a place or time most of us could never see.
    • 64 Metascore
    • 88 Roger Moore
    The sweet, the comic and the tragic blend together most agreeably in the winsome French romance The Hedgehog.
    • 75 Metascore
    • 88 Roger Moore
    To fans who know the tunes by heart, hearing their history is never less than thrilling. And if you’ve heard that line about “Swampers” and never new who they were, you should. They have been known to pick a song or two.
    • 71 Metascore
    • 88 Roger Moore
    Artistically, Get on Up rivals “Walk the Line,” with a lead performance on a par with the career-making turns of Angela Bassett (“What’s Love Got to Do With It?”) and Jamie Foxx (“Ray”). With this wonder of the summer, Boseman and Taylor deliver a piece of American cultural history every bit as important as the Jackie Robinson story, a story told with heart, humor, funk and soul.
    • 86 Metascore
    • 88 Roger Moore
    The story takes a surprising turn midway through, a change in direction that deepens the experience for the viewer, making us culpable in at least part of the misery these two face.
    • 63 Metascore
    • 88 Roger Moore
    Rio
    Comical, colorful, wonderfully cast and beautifully animated.
    • 67 Metascore
    • 88 Roger Moore
    A Mexican-accented kids’ cartoon so colorful and unconventionally dazzling it almost reinvents the art form. As pretty as a just-punctured pinata, endlessly inventive, warm and traditional, it serves up Mexican culture in a riot of Mexican colors and mariachi-flavored music.
    • 69 Metascore
    • 88 Roger Moore
    Of all the gonzo-goofy comic book adaptations that embrace video gaming sensibilities, Scott Pilgrim vs. The World is the gonzo-goofiest.
    • 76 Metascore
    • 88 Roger Moore
    As he did with “The Dallas Buyers’ Club,” director Jean-Marc Vallée covers this inner and outer journey with a minimum of fuss. The flashbacks and their revelations, filling in the puzzle, are sparingly doled out. The stunning scenery Cheryl hikes through is barely noticed.
    • 69 Metascore
    • 88 Roger Moore
    The Drop is a simmering thriller from the writer who gave us “Mystic River” and “Gone, Baby Gone,” a tale heavy with the weight of violence we know is coming.
    • 90 Metascore
    • 88 Roger Moore
    Grim, gruesome and glorious.
    • 91 Metascore
    • 88 Roger Moore
    Using archival footage, inventive animated recreations of incidents and chilling aerial smart-bomb views of air strikes as they happen, Moreh creates a simple yet elegantly damning film.
    • 81 Metascore
    • 88 Roger Moore
    Long, patient and chilling, it vividly captures a time in America and the feel of divided Berlin in the muted blues and greys that color our memories of that “duck and cover” age.
    • 83 Metascore
    • 88 Roger Moore
    This performance reminds us that Bridges is that rare actor who has never had to make that apology. Crazy Heart lets him be every bit as grand as we’d hope him to be.
    • 67 Metascore
    • 88 Roger Moore
    In the best picture of 2015, Carey Mulligan is the stoic, long-suffering sweatshop worker radicalized into action.
    • 63 Metascore
    • 88 Roger Moore
    Chemistry is king. It's one reason the rom-com has long seemed like the toughest code for Hollywood to crack. But never underestimate the power of snappy, rapid-fire banter, the paving stones of the Hollywood road to romance.
    • 61 Metascore
    • 88 Roger Moore
    Start to finish, it’s a delight.
    • 63 Metascore
    • 88 Roger Moore
    This winning film wins you over without manipulation, without guile and without ulterior motives. If you can’t feel good about humanity after this one, you can’t feel good.
    • 81 Metascore
    • 88 Roger Moore
    The Big Short becomes not just amusing and explanatory, a real tour de force for its fast-talking cast.
    • 76 Metascore
    • 88 Roger Moore
    A chilling detective tale, a horrific sexual abuse drama and an overlong, emotional, tie-up-every-loose-end melodrama that is sure to be half an hour shorter when Hollywood remakes it without the Swedish dialogue and probably without the cool Swedish edge.
    • 85 Metascore
    • 88 Roger Moore
    Michael B. Jordan (“Red Tails”) is never less than riveting as Oscar, and he has to be.
    • 74 Metascore
    • 88 Roger Moore
    Doueiri has brilliantly and simply put a compassionate human face on a part of the world where ethnicity still trumps education, class and achievement, where even the successful face, at best, second-class citizenship in their own country.
    • 77 Metascore
    • 88 Roger Moore
    It's an unblinking look into the lives of soldiers doing the most thankless job of all.
    • 61 Metascore
    • 88 Roger Moore
    Almost every shot is a postcard-perfect African vista, and every animal shown in majestic close-up.
    • 65 Metascore
    • 88 Roger Moore
    A most deserving Oscar winner and a film that could provoke discussion anywhere it is shown, anywhere people of any age are being bullied.
    • 72 Metascore
    • 88 Roger Moore
    This delightful and inspiring drama succeeds the way Hawking has, even as he fails to deliver that “one theory” that explains “everything.” It’s reaching beyond your grasp, in life, in science and in film biographies, that achieves greatness.
    • 76 Metascore
    • 88 Roger Moore
    The rawboned Hawkes manages both charm and menace in the same look, and Dancy gives his character a testy, fearful edge that doesn't make him scary, but rather someone we fear for.
    • 57 Metascore
    • 88 Roger Moore
    A true indie film roller-coaster ride, from moon-eyed romance to aching heartbreak, cerebral puzzle to incredibly moving, emotional resolution to that puzzle. In a season of the year where sci-fi is dumbed down and then dumbed some more for mass consumption, here’s a piece of speculative fiction that will stick with you long after the last Transformer’s battery has died.
    • 87 Metascore
    • 88 Roger Moore
    This solo ordeal won’t be to every taste, but All Is Lost is a grand vehicle for the actor and for that viewer ready to consider his or her own mortality, the problems, conflicts, strengths and shortcomings you’re sure you leave behind when you just sail away.
    • 96 Metascore
    • 88 Roger Moore
    Bullock and Clooney make their peril our peril in this absolutely gorgeous, moving and sometimes exultant reminder that the real terrors of space are scary enough, without invented bug-eyed monsters thrown in.

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