For 1,093 reviews, this critic has graded:
  • 56% higher than the average critic
  • 2% same as the average critic
  • 42% lower than the average critic
On average, this critic grades 0.1 points lower than other critics. (0-100 point scale)

Roger Moore's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 Magician: The Astonishing Life and Work of Orson Welles
Lowest review score: 12 Creature
Score distribution:
1,093 movie reviews
    • 80 Metascore
    • 75 Roger Moore
    In Mary, Leigh has found the polar opposite of Sally Hawkin's giggle-through-the-pain heroine of "Happy-Go-Lucky."
    • 82 Metascore
    • 75 Roger Moore
    Like Tati himself, The Illusionist feels like a relic of a different time.
    • 40 Metascore
    • 75 Roger Moore
    Witty, warm, well-cast and often wickedly funny.
    • 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.
    • 63 Metascore
    • 75 Roger Moore
    Populated with a peerless supporting cast, actors who bring just the right history to their roles.
    • 45 Metascore
    • 75 Roger Moore
    Less mopey and downbeat than TV star Zach Braff's "Garden State." But it succeeds in many of the same sweet ways and is similar enough to warrant labeling Radnor "Zach Braff: The Next Generation."
    • 52 Metascore
    • 75 Roger Moore
    The spookiest and most entertaining horror flick since "Paranormal Activity."
    • 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."
    • 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.
    • 69 Metascore
    • 75 Roger Moore
    The Elephant in the Living Room is damning, but also very sad. These stories, as Harrison points out, never have a happy ending.
    • 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.
    • 86 Metascore
    • 75 Roger Moore
    A quietly compelling if not particularly emotional and sober-minded treatment of an infamous incident.
    • 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.
    • 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.
    • 66 Metascore
    • 75 Roger Moore
    It's a sturdy World War II yarn, with harrowing and heart-breaking moments sprinkled throughout.
    • 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.
    • 68 Metascore
    • 75 Roger Moore
    The daft feather-light French farce Potiche is a period piece designed to remind us of just how far and how fast women have come in the Western world.
    • 66 Metascore
    • 75 Roger Moore
    Greatest Movie isn't Spurlock's best. It plays like an overlong, overly cutesy TV news report (woman and man on street interviews included) on product placement.
    • 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.
    • 82 Metascore
    • 75 Roger Moore
    Incendies is occasionally compelling, but also overlong and vexing in the ways it draws out a "shocking" conclusion that we unravel long before the characters do.
    • 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.
    • 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.
    • 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.
    • 81 Metascore
    • 75 Roger Moore
    Souffle-light and long on charm.
    • 82 Metascore
    • 75 Roger Moore
    The riffing, the one-upsmanship, the off-the-cuff zingers and the singing (ABBA, a great favorite of Coogan's most famous creation, the dizzy talk show host Alan Partridge) make The Trip an easy-going trek down a road well-traveled by these two.
    • 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."
    • 68 Metascore
    • 75 Roger Moore
    Zeroing in on Carr as the movie's "hero" was a smart move. He comes off as smart, confrontational and unconventional.
    • 57 Metascore
    • 75 Roger Moore
    The first funny film to give those "Bridesmaids" a run for their money.
    • 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.
    • 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.

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