For 1,565 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 2.4 points lower than other critics. (0-100 point scale)

Roger Moore's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 The Revenant
Lowest review score: 12 Creature
Score distribution:
1565 movie reviews
    • 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.
    • 66 Metascore
    • 88 Roger Moore
    As with her best films, Coppola is utterly at ease in this milieu and it shows.
    • 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.
    • 62 Metascore
    • 88 Roger Moore
    The funniest kids’ cartoon of the summer.
    • 76 Metascore
    • 88 Roger Moore
    It’s a pretty conventional “Lifetime Original Movie” sort of story. But co-writer/director Thomas Vinterberg (“Dear Wendy”) makes it work by building a sense of frustrating unease into it all.
    • 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.
    • 85 Metascore
    • 88 Roger Moore
    Michael B. Jordan (“Red Tails”) is never less than riveting as Oscar, and he has to be.
    • 82 Metascore
    • 88 Roger Moore
    Witty, warm and wistful and in just the right proportions, Spectacular is the best-acted film of the summer.
    • 75 Metascore
    • 88 Roger Moore
    A fine and fun film tribute to the milieu, the men, women and machines in a sport that was never deadlier or more glamorous than its Disco Decade incarnation.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 65 Metascore
    • 88 Roger Moore
    It was never going to be “Supercalifragilisticexpialidocious.” Reserve that honor for the film that inspired it. But Saving Mr. Banks is still one of the best pictures of the year.
    • 90 Metascore
    • 88 Roger Moore
    The disco decadence, the seedy era before Times Square became a theme park, the lowered expectations of an endless recession, everything that was then and is now makes up American Hustle. And that’s what makes this the best movie of this holiday season.
    • 90 Metascore
    • 88 Roger Moore
    Her
    Is it better to have loved and lost than never to have logged on at all?
    • 76 Metascore
    • 88 Roger Moore
    It’s an intimate, quiet and slow-paced romance, a simple, richly rewarding movie in the classic style of India’s greatest filmmaker, the late Satyajit Ray.
    • 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.
    • 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.
    • 84 Metascore
    • 88 Roger Moore
    It’s more an instant cult film than a picture with any prayer of reaching millions.
    • 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.
    • 73 Metascore
    • 88 Roger Moore
    Hoffman is merely the first among equals in a stellar cast.
    • 77 Metascore
    • 88 Roger Moore
    Calvary is a compact and biting tale of a righteous man being tested by his faith, his peers and his predicament.
    • 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.
    • 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.
    • 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.
    • tbd Metascore
    • 88 Roger Moore
    It’s visually lovely, and the performances are subtle, sunny and sympathetic. Camara lends a playful touch to Antonio’s Beatle-mania.
    • 61 Metascore
    • 88 Roger Moore
    Start to finish, it’s a delight.

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