For 894 reviews, this critic has graded:
  • 57% higher than the average critic
  • 3% same as the average critic
  • 40% lower than the average critic
On average, this critic grades 0.2 points higher than other critics. (0-100 point scale)

Roger Moore's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 The Guard
Lowest review score: 12 Creature
Score distribution:
894 movie reviews
    • 76 Metascore
    • 63 Roger Moore
    A cartoon with better animation and livelier action, if fewer jokes. If there’s one thing these sweet-message/great flying sequence movies don’t need is fewer jokes.
    • 52 Metascore
    • 63 Roger Moore
    Epic isn’t epic, but it isn’t half bad, either. It’s just that as high as the bar has been raised on this sort of animation, this is more evidence that a strong story is worth more than any next generation software.
    • 28 Metascore
    • 63 Roger Moore
    Coarse, crude but often cute, The Big Wedding serves up the spectacle of its title, and the bigger spectacle of four AARP-eligible Oscar winners cursing like sailors.
    • 37 Metascore
    • 63 Roger Moore
    “Walking” takes care to ID each new dinosaur species introduced, including factoids about what they ate and any special skills they might have had. It’s downright educational. Just don’t tell your kids that.
    • 53 Metascore
    • 63 Roger Moore
    So while this Spider-Man is, if anything, more competent than the first film it’s still not one that demands that you stick around after the credits. There’s nothing there.
    • 92 Metascore
    • 63 Roger Moore
    The movie is so “interior,” it so zeroes in on Isaac and his baleful stare, that we’re relieved any time something overtly funny happens.
    • 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.
    • 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.
    • 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.”
    • 47 Metascore
    • 63 Roger Moore
    Red 2 goes down easily, from Marvin’s demented moments of relationship advice to Dame Helen’s tender and amusing “Hitchcock” reunion with Sir Anthony. There’s a knowing twinkle in their eyes, and in everybody else’s. “Yeah, we could’ve done a Bond film,” they seem to wink. “And it would’ve been a bloody fun one, at that.”
    • 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.
    • 52 Metascore
    • 63 Roger Moore
    The laughs follow an overly familiar path, but it’s great to see Grier, one of the bright lights of the seminal TV sketch comedy “In Living Color,” button down this judge and find ways to break formula and make him hilarious.
    • 60 Metascore
    • 63 Roger Moore
    This Wolverine gets our hopes up, and falls short.
    • 51 Metascore
    • 63 Roger Moore
    It's all quite lovely, mesmerizing – and right on the edge of sleep-inducing.
    • 48 Metascore
    • 63 Roger Moore
    The design... is stunning, an improvement over 2006′s “300.” And the action never disappoints. It’s a pity this colorless cast doesn’t hold a candle to the Butler/Headey/Michael Fassbender/David Wenham crew of the original, that the writers couldn’t conjure up thrilling speeches to match the original.
    • 74 Metascore
    • 63 Roger Moore
    There’s wit and whimsy in this 53rd Disney cartoon, a distant cousin of Hans Christian Andersen’s classic fairytale, “The Snow Queen.”
    • 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.
    • 70 Metascore
    • 63 Roger Moore
    It’s OK for April, in other words, but not up to the higher standards of a Marvel summer blockbuster.
    • 48 Metascore
    • 63 Roger Moore
    It’s too long and wildly uneven. And the longer it goes on, the more uneven and oddball it seems.
    • 68 Metascore
    • 63 Roger Moore
    The Conjuring is like a prequel to 40 years of demonic possession thrillers.
    • 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.
    • 57 Metascore
    • 63 Roger Moore
    Branagh & Co. keep up appearances with a thriller that works mainly because all of its parts — locations, fights and plot twists — are well worn from all the thrillers they’ve been in before.
    • 48 Metascore
    • 63 Roger Moore
    Last Vegas isn’t “out there” in a “Hangover” sense. It’s comical comfort food, with actors doing the sorts of things they’ve done for decades. But even if this is the safest Vegas romp of them all, this cast never lets us forget that we’re in very good hands.
    • 66 Metascore
    • 63 Roger Moore
    The frights are passable, the foreshadowing (extreme close-ups of nails being pounded through boards, etc.) telling and the humor — sick as it is — quite funny.
    • 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.
    • 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.
    • 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.
    • 71 Metascore
    • 63 Roger Moore
    Cruise and Blunt have only as much chemistry as the script allows.
    • 44 Metascore
    • 63 Roger Moore
    So it’s no “Starbuck,” which most people won’t mind because Americans don’t read subtitles. But even in this form, Delivery Man and the guy who plays him still deliver where it counts.