For 1,017 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 0.2 points higher than other critics. (0-100 point scale)

Roger Moore's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 56 Up
Lowest review score: 12 Creature
Score distribution:
1,017 movie reviews
    • 47 Metascore
    • 75 Roger Moore
    Restless is far more precious than profound. But that takes little away from this soulful teenage exploration of love, life and death.
    • 50 Metascore
    • 75 Roger Moore
    It's a movie benefiting from another sparkling, sexy and emotionally available performance by Natalie Portman.
    • 57 Metascore
    • 75 Roger Moore
    Has a lot of that winking wit we've come to expect from our post-"Spider Man" Marvel movies. It has a hunky, self-mocking young star, solid support from a couple of Oscar winners and the slick sheen that state-of-the-art effects can give you.
    • 74 Metascore
    • 75 Roger Moore
    Duncan Jones, director of the very fine and very paranoid "Moon," makes this seemingly silly situation work, building tension over 93 minutes.
    • 52 Metascore
    • 75 Roger Moore
    The spookiest and most entertaining horror flick since "Paranormal Activity."
    • 87 Metascore
    • 75 Roger Moore
    13 Assassins is entirely too long and too talky. But the cat-and-mouse game of strategy, figuring out when and where to ambush the evil overlord's entourage, is fascinating.
    • 67 Metascore
    • 75 Roger Moore
    A sequel that delivers more heart than laughs, and is, if anything, more visually dazzling than the 2008 original film.
    • 70 Metascore
    • 75 Roger Moore
    It's a farce with sexual come-ons and actual sex - the Boy Scout Tim's first encounter with a hooker and a crack pipe - but Cedar Rapids never loses track of the humanity of its characters.
    • 69 Metascore
    • 75 Roger Moore
    It's a vivid, blunt and candid look at their kill-or-be-killed existence, which Joubert writes and Irons narrates is "the eternal dance of Africa."
    • 66 Metascore
    • 75 Roger Moore
    The fourth comic book movie of the summer is the best comic book movie of the summer. Johnston has delivered a light, clever and deftly balanced adventure picture with real lump in the throat nostalgia.
    • 65 Metascore
    • 75 Roger Moore
    X-Men: First Class still sings the praises of Marvel Studios' marvelous quality control of comic book movies. It's good, clean summer movie fun where the money they spend is up on the screen - with actors and effects - so that we won't mind spending our money on it.
    • 63 Metascore
    • 75 Roger Moore
    Populated with a peerless supporting cast, actors who bring just the right history to their roles.
    • 60 Metascore
    • 75 Roger Moore
    An often moving and always disturbing film. Little is explained, motivations aren't explored. We miss them, at times. It's still a film of power, wit and thought-provoking ideas, one well worth seeing.
    • 75 Metascore
    • 75 Roger Moore
    The musical comedy whimsically and often cleverly revisits the characters, their shtick and and the TV show and movies that made them most famous.
    • 55 Metascore
    • 75 Roger Moore
    May not be as emotionally compelling as John Ford's work ("The Prisoner of Shark Island"), but it's every bit as meticulously crafted.
    • 75 Metascore
    • 75 Roger Moore
    This is "Her Hangover," a smarter and sweeter stumble to the altar that never quite gets to Vegas, and doesn't seem to mind.
    • 57 Metascore
    • 75 Roger Moore
    They turn more of the story over to the comic relief, the dopey tow truck Tow Mater, and get a sillier, more kid-friendly movie out of it. Yes, Cars 2 is better than "Cars."
    • 74 Metascore
    • 75 Roger Moore
    It's a treat for children making their first trek to the multiplex and for parents and grandparents with fond memories of the Hundred Acre Wood.
    • 68 Metascore
    • 75 Roger Moore
    As a Steve Carell comedy, it works. He plays the victim well, the guy romantically in over his head ever better. Surrounding him with people this funny - Ryan Gosling, who knew?
    • 86 Metascore
    • 75 Roger Moore
    A quietly compelling if not particularly emotional and sober-minded treatment of an infamous incident.
    • 66 Metascore
    • 75 Roger Moore
    Best taken as the perfect film to transition your kids from animation to live action fare – short, sweet, and educational.
    • 64 Metascore
    • 75 Roger Moore
    Fright Night can also boast of having the best vampire-villain in ages. The bushy-browed Colin Farrell was BORN to wear fangs.
    • 71 Metascore
    • 75 Roger Moore
    Warrior is a straight genre picture, a fight movie of the old school. But it's a mixed martial arts tale, and as such, it's the best MMA movie ever.
    • 78 Metascore
    • 75 Roger Moore
    They (Refn and Gosling) have collaborated on a car picture that unnerves us with its idling quiet, and then pins our ears back when they stomp the accelerator.
    • 69 Metascore
    • 75 Roger Moore
    In a genre - the animated holiday film - already overflowing with the sentimental, the silly Arthur Christmas is a most welcome treat to find stuffed into the cinema's stockings this holiday season.
    • 84 Metascore
    • 75 Roger Moore
    The Descendants lets Payne show us the Other America and the Other Americans - little lives caught up in small but epic problems far away from the La La Land of Hollywood hype, sex and violence.
    • 83 Metascore
    • 75 Roger Moore
    A stunning exercise in 3D and a delightful celebration of Scorsese's lifelong love of the movies, something he, like Hugo, developed on childhood.
    • 81 Metascore
    • 75 Roger Moore
    Souffle-light and long on charm.
    • 50 Metascore
    • 75 Roger Moore
    Even lacking the laughs and romance, he (Emmerich) has delivered an entertaining eye-roller of alternative history.
    • 76 Metascore
    • 75 Roger Moore
    This compelling-acted film explains, better than any soundbite, why people have taken to the streets, "occupying" centers of finance. If their rage is unfocused, Margin Call suggests, that's with good reason. There are no real heroes or villains here, just human beings with human failings making BIG human mistakes.

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