For 957 reviews, this critic has graded:
  • 57% higher than the average critic
  • 2% same as the average critic
  • 41% lower than the average critic
On average, this critic grades 0 points higher than other critics. (0-100 point scale)

Roger Moore's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 Get Low
Lowest review score: 12 Creature
Score distribution:
957 movie reviews
    • 58 Metascore
    • 63 Roger Moore
    Brewer gave the film a little Southern hip hop, and brought in real Southerners Quaid, Andie MacDowell and Ray McKinnon to further Southernize it.
    • 53 Metascore
    • 63 Roger Moore
    What this film from the director of "The Devil Wears Prada" does manage is a gentle amiability.
    • 49 Metascore
    • 63 Roger Moore
    This tiny Catholic school for women dominated the sport at a turning point in history, and this plucky, old-fashioned sports drama sets the scene and tells the tale with a lot of heart and a dash of wit.
    • 56 Metascore
    • 63 Roger Moore
    Though it only rarely reaches the level of gonzo farce that it might have been, "Diary" is still an agreeably drunken stagger through the novel Thompson based on his formative year as a writer.
    • 53 Metascore
    • 63 Roger Moore
    "Gattaca" director Andrew Niccol's sense of the zeitgeist is as on the money as ever with In Time, a sci-fi parable that plays like "Occupy Wall Street: The Movie."
    • 59 Metascore
    • 63 Roger Moore
    Jonathan "50/50" Levine has turned Isaac Marion's teen romance novel into an often amusing tongue-in-cheek romantic comedy - tongue in cheek, and brains in teeth. Chewy, tasty brains.
    • 53 Metascore
    • 63 Roger Moore
    Before it trips over its own overly complex plot, before the comic leads have exhausted their modestly amusing repertoires, this odd stoner/sci fi creature feature blows out of the gate and threatens - for about thirty minutes - to blow your mind. Then it doesn't.
    • 49 Metascore
    • 63 Roger Moore
    Director Allen Hughes ("The Book of Eli") hides the secrets well and stages a good fight and chase. But what's most entertaining about Brian Tucker's script is the lived-in feel it has.
    • 51 Metascore
    • 63 Roger Moore
    It's all quite lovely, mesmerizing – and right on the edge of sleep-inducing.
    • 73 Metascore
    • 63 Roger Moore
    Rust and Bone doesn't earn the ending it delivers.
    • 55 Metascore
    • 63 Roger Moore
    Damon the Oscar-winning writer does something nobody else in Hollywood would – write a dumb character for Matt Damon to play.
    • 51 Metascore
    • 63 Roger Moore
    What gives it’s juice is the supporting cast. John Bernthal (“The Walking Dead”) is credibly wary as the ex-con John begs to get him in the door of the drug world. And the terrific Michael Kenneth Williams is the first dealer he meets, a guy who pulls a gun on him just to test him.
    • 51 Metascore
    • 63 Roger Moore
    For all Singer’s expertise at making the fantastic real, all we’re left with here is an expensive-looking bauble – worth looking over, but not really anything to treasure.
    • 34 Metascore
    • 63 Roger Moore
    The bottom-line on this bottom-baring/bottom-branding farce is “Is it funny, on top of all the shocks?” And yes, it is. On a number of few occasions, all of them involving Jeff Chang.
    • 48 Metascore
    • 63 Roger Moore
    Tommy Lee Jones gives us a saltier version of MacArthur than the image-conscious general ever let on to.
    • 71 Metascore
    • 63 Roger Moore
    It’s a lovely film, a sentimental parable that carefully recreates a post-war Japan obsessed with obliterating its past.
    • 44 Metascore
    • 63 Roger Moore
    Few jokes take us by surprise, but enough comic haymakers land to make “Burt Wonderstone” credible, in not exactly “incredible.”
    • 63 Metascore
    • 63 Roger Moore
    Spring Break – it’s every bit as much fun as you think it is. Until it isn’t.
    • 76 Metascore
    • 63 Roger Moore
    An engrossing but frustrating movie, so subtle in its depiction of a teenager struggling to come to terms with a world and worldview utterly upended that it almost trivializes the tragedy that Lore, we suspect, is just beginning to feel responsible for.
    • 67 Metascore
    • 63 Roger Moore
    There’s more than a hint of the ‘90s Roddy Doyle adaptation “The Commitments” in all this – people far removed from Memphis and Detroit connecting to soul music on a spiritual level.
    • 48 Metascore
    • 63 Roger Moore
    Fey plays this inner-outer conflict well. But at her most wide-eyed and vulnerable, she still has trouble making a romance credible, even with Rudd, edgy comedy’s puppy dog of a leading man.
    • 40 Metascore
    • 63 Roger Moore
    No matter how great her ambitions, no matter how little she was able to accomplish, thanks to the strictures of her time, here was a woman history remembers simply through the force of her personality and the simple courage it took to be ahead of her time.
    • 42 Metascore
    • 63 Roger Moore
    Not every cute movie about the mentally ill is Oscar worthy, but this touching and riotous one from Down Under works well enough.
    • 69 Metascore
    • 63 Roger Moore
    Potter’s film is at is most artful in the painterly ways she composes the wordless scenes of the girls testing cigarettes, hitchhiking with the wrong boys and Rosa exploring heavy petting with another boy, showing off for Ginger.
    • 39 Metascore
    • 63 Roger Moore
    The Brass Teapot stumbles into tedium, a parable that never quite resolves itself into the moral lesson it so desperately wants to convey.
    • 57 Metascore
    • 63 Roger Moore
    Robert Redford delivers one last lecture on ’60s idealism and passes another baton to Shia LaBeouf in The Company You Keep, an engrossing thriller about the last anti-Vietnam War radicals still underground.
    • 57 Metascore
    • 63 Roger Moore
    Is this Evil Dead (no “The”) any good? Yes and no. It several genuinely hair-raising moments and presents, for your edification and enjoyment, some of the most graphic horror violence ever presented on the screen.
    • 54 Metascore
    • 63 Roger Moore
    That doesn’t make Oblivion a bad movie, just a familiar one — generic.
    • 57 Metascore
    • 63 Roger Moore
    There’s nothing much new here, but the performances and the milieu make Filly Brown an entertaining, honorable installment in a story that is the American Dream incarnate, and has been ever since the first wannabe showed up on Tin Pan Alley at the beginning of the last century.
    • 45 Metascore
    • 63 Roger Moore
    It’s just too much — too much graphic violence, too many plot wrinkles, too much stupidity, too many supporting players to track...For a movie as physically fit as this one wants to be, Pain & Gain is carrying way too much extra weight.