For 1,419 reviews, this critic has graded:
  • 54% higher than the average critic
  • 3% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 1.6 points lower than other critics. (0-100 point scale)

Roger Moore's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 Super 8
Lowest review score: 12 Creature
Score distribution:
1419 movie reviews
    • 76 Metascore
    • 75 Roger Moore
    Blue Caprice is a chilling portrait of motive, manipulation and mass murder.
    • 76 Metascore
    • 75 Roger Moore
    It’s still a passion project, in all the best ways, a jaunty, juicy ramble through music history from Johnny Cash to Nine Inch Nails, Neil Young to the Red Hot Chili Peppers.
    • 71 Metascore
    • 75 Roger Moore
    You'd better watch out. You'd better not swear. Have a gun handy, loaded for bear. Santa Claus is coming…to Finland.
    • 80 Metascore
    • 75 Roger Moore
    The coolest sequences in the film are its first third, with Watney’s communication cut off and NASA unaware he’s there.
    • 94 Metascore
    • 75 Roger Moore
    And as long as it is, it would be a pity to cut one moment of Spall’s immersive, utterly convincing portrait of this common man with an uncommon gift.
    • 70 Metascore
    • 75 Roger Moore
    It’s a fanciful conceit and a well-animated parable about prejudice, standards of beauty and the shifting sands of the painters’ art.
    • 72 Metascore
    • 75 Roger Moore
    Moore makes us root for Alice, not for a cure, which still seems a reach, but for a completion of her life’s goals, a chance to control her fate as long as she has the wherewithal to do it.
    • 86 Metascore
    • 75 Roger Moore
    A quietly compelling if not particularly emotional and sober-minded treatment of an infamous incident.
    • 91 Metascore
    • 75 Roger Moore
    It goes on too long, but this is personal essay filmmaking at its best, one that passes that ultimate test of such self-involved projects. It has a story worth telling.
    • 49 Metascore
    • 75 Roger Moore
    The result is wintry and melancholy, “A Child’s Christmas in Wales” or “Do Not Go Gentle Into that Good Night” in tone. And because of that, it’s a trifle duller than the man himself surely must have been.
    • 47 Metascore
    • 75 Roger Moore
    An engaging Israeli film about the days when the people throwing rocks, assassinating soldiers and setting off bombs were Jews out to carve a state for themselves out of the British "mandate" in Palestine.
    • 73 Metascore
    • 75 Roger Moore
    It’s a “Waiting for Godot” set in the solitary work and lives of two highway line-painters.
    • 79 Metascore
    • 75 Roger Moore
    A deadpan, darkly funny Korean murder mystery.
    • 61 Metascore
    • 75 Roger Moore
    Crisp, compact and cryptic, The American is a standard-issue hit-man thriller tailor made for George Clooney.
    • 67 Metascore
    • 75 Roger Moore
    It’s a fascinating slice of rock and pop archeology and well worth your time.
    • 82 Metascore
    • 75 Roger Moore
    Frances Ha turns melancholy and almost painful to watch in its last act as she and we see the dead end dead ahead. And the film doesn’t seem to earn the finale the two of them cooked up for us.
    • 68 Metascore
    • 75 Roger Moore
    Radice has delivered an engaging portrait of a loose cannon back when professional sports still produced such unfiltered creatures, a man who lived by his own rules, said what he thought and wore curlers to practice when he felt like it.
    • 56 Metascore
    • 75 Roger Moore
    A daft pitch-black dark comedy about family dysfunction that plays out over painfully ugly family Christmas celebration.
    • 55 Metascore
    • 75 Roger Moore
    Two very good looking people play two offbeat and abrasively charming lovers in Love & Other Drugs. And when your screen romance is as sexual as this one, it helps if your stars are about as good looking with their clothes off as human beings get.
    • 36 Metascore
    • 75 Roger Moore
    Paris-Manhattan is an amusing little nothing of a movie built around the wit and wisdom of Woody Allen.
    • 66 Metascore
    • 75 Roger Moore
    Borgman is a chilling, cryptic film that commands your attention even as its writer-director devotes much of his attention to keeping you from figuring it out.
    • 72 Metascore
    • 75 Roger Moore
    For all its pleasures, as Germaine nudges Claude toward that “ideal” ending that will make the reader say “I never saw that coming” and “It could not have ended any other way” at the same time, one only wishes this absorbing but melodramatic film had taken that advice.
    • 66 Metascore
    • 75 Roger Moore
    The wildly improbable set-up is merely the jumping off point for an exploration of grief, guilt and redemption.
    • 68 Metascore
    • 75 Roger Moore
    Fort Bliss is a solid tough-adjustment-coming-home melodrama built around a superb performance by Michelle Monaghan.
    • 77 Metascore
    • 75 Roger Moore
    Bonneville, who did mostly comedy, pre-“Downton,” rediscovers his funny bone.
    • 42 Metascore
    • 75 Roger Moore
    Interns Wilson and Vaughn swap lines like veteran jazz musicians who still have a sense of play about them — an endless supply of nicknames, high-and-low fives, dated slang and goodwill — theirs for each other, and ours for them.
    • 65 Metascore
    • 75 Roger Moore
    "The Debt," a very good 2007 Israeli thriller with Cold War and Holocaust connections, earns a nerve-wracking and entertaining Hollywood remake.
    • 75 Metascore
    • 75 Roger Moore
    It’s a simple, cheap and limited concept beautifully executed. The players, especially Tena, tell us the story with their faces.
    • 65 Metascore
    • 75 Roger Moore
    One of the most entertaining history lessons you could ever hope to sit through.
    • 63 Metascore
    • 75 Roger Moore
    Writer-director Jaco Van Dormael (“Toto the Hero”) spins flashbacks and time-lapse photography, stunning montages, whirling, circling cameras and stunning underwater, deep space and Martian landscape photography into a film that is as intentionally opaque as it is overlong.

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