For 1,012 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 Super 8
Lowest review score: 12 Creature
Score distribution:
1,012 movie reviews
    • 57 Metascore
    • 38 Roger Moore
    Daybreakers is a stylish but unavoidably silly sci-fi vampire thriller.
    • 19 Metascore
    • 38 Roger Moore
    Overlong and entirely too ambitious in the number of “issues” it tries to cover, To Save a Life wanders all over the place before reaching its very predictable conclusions.
    • 36 Metascore
    • 38 Roger Moore
    That Disney touch (which even Disney has trouble replicating) is missing. Even the hockey is unconvincing.
    • 25 Metascore
    • 38 Roger Moore
    Bell, a petite, pretty blonde, may or may not have the Meg Ryan-Julia Roberts-Sandra Bullock goods. When in Rome, a leaden variation on that rom-com recipe, fails utterly to make her case.
    • 43 Metascore
    • 38 Roger Moore
    Hallstrom and his low-heat stars can’t find the pulse of this corpse.
    • 34 Metascore
    • 38 Roger Moore
    It’s an American "Love Actually" without the warmth that writer-director Richard Curtis stuffs into his all-star confections, without the wit, without much love, actually.
    • 31 Metascore
    • 38 Roger Moore
    Cop Out is still funnier than the dreadful later Eddie Murphy cop pictures. But it feels like an homage to a period best forgotten.
    • 50 Metascore
    • 38 Roger Moore
    The polished production sometimes touches and amuses despite its naïve “love conquers all” script.
    • 22 Metascore
    • 38 Roger Moore
    Aniston doesn’t bring her old A-game to this. But at least she’s not quiet and reserved and no-energy, her approach to too many roles of late. Butler makes the most of his Neanderthal rut.
    • 43 Metascore
    • 38 Roger Moore
    A crowded cast of some of the finest actors in the cinema act the hell out of a gimmicky, episodic, hit-or-miss script in Brooklyn’s Finest, Antoine Fuqua’s latest attempt to relive the glories of "Training Day."
    • 38 Metascore
    • 38 Roger Moore
    A broad and formulaic culture-clash comedy built on fill-in-the-blank wedding comedy clichés.
    • 32 Metascore
    • 38 Roger Moore
    This is not a bad cast, but whatever wit the script aims for is lost in the queasy details director Miguel Sapochnik found more fascinating.
    • 31 Metascore
    • 38 Roger Moore
    Good looking (it was filmed in Winter Garden) but slow and bland, this faith-based tear-jerker is a depressingly unemotional affair, with writing and some of the acting so flat that even its emotionally loaded situations can’t inspire waterworks.
    • 42 Metascore
    • 38 Roger Moore
    The characters in The Perfect Game speak old school “Hollywood Mexican.” In other words, they speak English with accents that we haven’t heard since the golden Age of Speedy Gonzalez.
    • 23 Metascore
    • 38 Roger Moore
    On the sliding critter-comedy scale, Furry Vengeance falls somewhere between the Chipmunks and the Chihuahua (the one from Beverly Hills).
    • 51 Metascore
    • 38 Roger Moore
    It's light in tone, feather-weight. But there aren't many laughs in it.
    • 30 Metascore
    • 38 Roger Moore
    These guys set out to make a movie where they could crack each other up. At this late date, they can't even manage that.
    • 30 Metascore
    • 38 Roger Moore
    A dull but harmless big-screen comedy aimed at the youngest movie goers.
    • 21 Metascore
    • 38 Roger Moore
    There’s nobody delivering the laughs in this arid action comedy.
    • 46 Metascore
    • 38 Roger Moore
    A generally joyless pastiche of sorcery history, imitation Potter "chosen one" Messianics and mirthless silliness, it's another in a string of recent black marks against Cage's Oscar-owning reputation.
    • 22 Metascore
    • 38 Roger Moore
    Off the wall? Friend, you don’t know off the wall until you’ve seen five twelve-year-old girl singer-dancers cover the Tina Turner/Phil Spector epic “River Deep, Mountain High” in the screwball kiddie dance comedy, Standing Ovation.
    • 30 Metascore
    • 38 Roger Moore
    Tedious time-killer of a kiddie comedy.
    • 45 Metascore
    • 38 Roger Moore
    It's the same movie as the earlier "gotta dance" over-choreographed crunk-and-breakdance epics. Exactly the same.
    • 53 Metascore
    • 38 Roger Moore
    It's not as scary as it needs to be or as clever as it thinks it is, but the new 3D version of "Piranha" is at least as gimmicky as those fabled 3D films of yore. With all the pointless 3D cartoons and joyless 3D ""Clash of the Titans" conversions, at last here's a picture that tosses its cookies, its coffee cups and its D-cups right in your lap.
    • 39 Metascore
    • 38 Roger Moore
    The script, by actor turned writer John Posey, has structural problems and motivational issues in between the cliches. And Cena, a few movies into his career, is still all presence and no acting.
    • 36 Metascore
    • 38 Roger Moore
    As with any movie, this kids' film is only as good as its writing - the jokes, the cute bits, the heart. And that's where Alpha and Omega comes up short.
    • 28 Metascore
    • 38 Roger Moore
    Disney's effort to turn Kristen Bell into America's Sweetheart reaches its tipping point with You Again, a flat romantic comedy that packages her in a funny setup and surrounds her with funny people.
    • 25 Metascore
    • 38 Roger Moore
    It's only a movie, and not a remotely effective one. And for Zellweger, whose "Miss Potter" and "Appaloosa" were barely seen, with "Leatherheads" and "New in Town" further deflating her A-list clout, that's the real shame here.
    • 51 Metascore
    • 38 Roger Moore
    A mirthless, joyless comedy with nary a hint of romance, mystery or justification for its existence.
    • 56 Metascore
    • 38 Roger Moore
    Those Jackasses from "Jackass" aren't getting better, they're getting older.
    • 56 Metascore
    • 38 Roger Moore
    This Herefter, despite the odd engaging moment, is a terrible letdown, like investing in a belief system and discovering there's no "here" that you've been after all your life.
    • 24 Metascore
    • 38 Roger Moore
    Director Michael W. Watkins, whose decades of TV credits go back to "Quantum Leap," manages one clever visual gag - a bus wreck, observed from the far side of a cornfield. We hear a crunch, see a telephone pole wobble and a little puff of smoke. Then Watkins blows the moment with a fiery overkill.
    • 48 Metascore
    • 38 Roger Moore
    It's all tiresome, muddied and artlessly made.
    • 45 Metascore
    • 38 Roger Moore
    A genre mash-up that never quite achieves "So very bad it's good" status.
    • 44 Metascore
    • 38 Roger Moore
    Whatever brownie points Tillman scored with "Notorious", Faster is that wake-up call that he's no John Woo.
    • 27 Metascore
    • 38 Roger Moore
    Paul Weitz ("Cirque du Freak," "American Dreamz") takes over as director, and the film shows all the signs of re-shoots and re-edits designed to bring in more characters and perhaps find a few more laughs.
    • 33 Metascore
    • 38 Roger Moore
    The villains are weak and the narrative has little drive to it.
    • 45 Metascore
    • 38 Roger Moore
    A little like modern country music - odd moments of sincerity, heart and authenticity peek through the plastic, the hype and the manufactured hokum.
    • 39 Metascore
    • 38 Roger Moore
    A violent, clumsy, jokey, badly-plotted and miscast mess.
    • 67 Metascore
    • 38 Roger Moore
    Somewhere is a triumph of tedium, banality passing for depth, a vacuous embrace of nothing.
    • 49 Metascore
    • 38 Roger Moore
    It's a modestly effective but jaw-droppingly violent picture.
    • 33 Metascore
    • 38 Roger Moore
    It's a rarely amusing movie overwhelmed by grating kids, unfunny sidekicks, half-hearted Sandler funny voices and a co-star who seems more fearful of smiling with each passing year.
    • 45 Metascore
    • 38 Roger Moore
    A rude and seriously crude riff on taking a vacation from marriage.
    • 64 Metascore
    • 38 Roger Moore
    This isn't satire, it isn't that funny and the only bits that work are the titillating ones.
    • 42 Metascore
    • 38 Roger Moore
    A ten-years-too-late comedy.
    • 29 Metascore
    • 38 Roger Moore
    Far more grim than "Grimm," and not nearly as much fun as it should have been.
    • 41 Metascore
    • 38 Roger Moore
    Hop
    The slapstick is mild-mannered, there's no romance, not a hint of emotion.
    • 36 Metascore
    • 38 Roger Moore
    This Arthur is on the rocks long before Last Call.
    • 52 Metascore
    • 38 Roger Moore
    It's a fitfully amusing, not remotely scary slasher picture.
    • 28 Metascore
    • 38 Roger Moore
    It's not a bad looking movie, with Deco design touches that remind me of the earlier Rand film adaptation, "The Fountainhead." But the acting's flat and the script is absurdly cluttered with characters whose purpose may only truly become clear if they ever are allowed to make the other two films they have planned.
    • 36 Metascore
    • 38 Roger Moore
    Thank heavens Krasinski, at least, had the screenwriter's ear. He makes every one-liner land. "The Hamptons are like a zombie movie directed by Ralph Lauren."
    • 55 Metascore
    • 38 Roger Moore
    Hobo hits the screen as a grim, visually ugly, intermittently funny-occasionally preachy piece with only the estimable Mr. Hauer to recommend it.
    • 41 Metascore
    • 38 Roger Moore
    A mad mash-up of sci-fi, Western, sacrilegious silliness and vampire movie. What lifts it to "I've seen worse" status is the previous teaming of star and director Scott Stewart, who last gave us the archangel fighting off other angels fiasco "Legion."
    • 36 Metascore
    • 38 Roger Moore
    A screen romance that echoes its title. It gets by. Barely.
    • 39 Metascore
    • 38 Roger Moore
    Well, Green Lantern isn't "Jonah Hex" bad. But it's silly enough to be part of the same "silliest Warner Brothers comic book summer movies of all time" conversation.
    • 85 Metascore
    • 38 Roger Moore
    Glibly put, this challenging time-skipping rumination is the big screen equivalent of watching that "Tree" grow.
    • 43 Metascore
    • 38 Roger Moore
    This script, this leaden direction ensures that even as the teen wish-fulfillment fantasy, complete with young women playing dress-up, Monte Carlo fails.
    • 32 Metascore
    • 38 Roger Moore
    A slick one hour and 50 minute version of those political convention hagiographies ("A Man From Hope"), so it's not exactly an objective take on its subject, former Alaska governor and vice presidential candidate Sarah Palin.
    • 42 Metascore
    • 38 Roger Moore
    Despite the locations and the informative narrative, almost every scene is missing that spark that would bring the characters to life and immediacy to the story.
    • 50 Metascore
    • 38 Roger Moore
    This isn't the worst of the bunch, not by far. But my premonition is this won't be the finale this series has screamed out for these past few years. This decapitation train never seems to reach its destination.
    • 37 Metascore
    • 38 Roger Moore
    Nobody has much that's funny to say or cool to do. Even the spy gadgets are lame.
    • 45 Metascore
    • 38 Roger Moore
    As straight exploitation, it's amusing, in fits and starts. It's just that Colombiana lacks the kinetic energy of "The Transporter" and the pathos of "La Femme Nikita."
    • 44 Metascore
    • 38 Roger Moore
    The sex sequences are revealingly awkward - with their "Don't try this at home" message. But without characters we can invest in, this "Hangover Meets Zack & Miri Make a Porno" is just the "porno," and entirely too tame for that, too.
    • 24 Metascore
    • 38 Roger Moore
    Whatever merits the production values have, the cheap frights don't deliver, the performers bring no pathos and the gimmick behind Apollo 18 flat out does not work.
    • 45 Metascore
    • 38 Roger Moore
    An exploitation picture built on redneck cliches and big city liberal outrage, it's not all bad. But it is a pretty unpleasant wallow in the obvious.
    • 65 Metascore
    • 38 Roger Moore
    "Evil" fails to triumph. Utterly.
    • 42 Metascore
    • 38 Roger Moore
    The message delivered isn't subtle, with Kendrick delivering toss-away lines that suggest he doesn't even tolerate "the option" of divorce. But the bigger message might be that the Kendricks haven't sold out, "gone Hollywood" or watered down their Baptist beliefs based on efforts to reach an audience beyond the faithful.
    • 35 Metascore
    • 38 Roger Moore
    Anna Faris and Chris Evans don't have enough scenes together, don't have enough funny lines and aren't surrounded by enough funny people to give this "Bridesmaids-lite" a shot.
    • 35 Metascore
    • 38 Roger Moore
    So much is just so…obvious.
    • 49 Metascore
    • 38 Roger Moore
    It's an infuriatingly static picture - actors walking around when they should be running, ruminating when they should be panicking, generally failing to convey fear and pick up the pace.
    • 17 Metascore
    • 38 Roger Moore
    Give it points on setting and a couple of the performances, but the joke-starved All's Faire in Love only rarely rises to the level of fair to middling.
    • 46 Metascore
    • 38 Roger Moore
    "English Reborn" isn't terrible and is certainly seriously harmless.
    • 37 Metascore
    • 38 Roger Moore
    The Double is barely half the movie it had the potential of becoming.
    • 36 Metascore
    • 38 Roger Moore
    It's all very messy and entirely too obvious at the same time. Montiel makes the most of his settings, but the story keeps staggering into dead ends.
    • 61 Metascore
    • 38 Roger Moore
    The charm has aged right out of this silly stoner franchise.
    • 23 Metascore
    • 38 Roger Moore
    Then there's Pacino, out-of-place and yet somehow right at home. You want big? Al does BIG. And since is as close as we're likely to get to "Don Corleone Does Don Quixote," that alone is worth the price of admission.
    • 46 Metascore
    • 38 Roger Moore
    The film manages one grand "300″ moment, Cavill rallying troops for battle, doing his best Gerard Butler. But the lack of humor, the confusing, stumbling story and limited color palette blunt the film's 3D slo-mo shots of heads exploding and torsos torn asunder by the sword.
    • 45 Metascore
    • 38 Roger Moore
    At long last, The Twilight Saga sinks utterly into camp with Breaking Dawn: Part 1.
    • 48 Metascore
    • 38 Roger Moore
    Choppy and bordering on incoherent, Bullet to the Head is Stallone's answer to Schwarzenegger's "The Last Stand," an action exercise in "Here's how we used to do it."
    • 42 Metascore
    • 38 Roger Moore
    Despite an epic fight or two, Parker robs us of the revenge, the suspense of the hunt, of Parker's methodical way of tracking down those who betrayed him, one by one.
    • 18 Metascore
    • 38 Roger Moore
    About a third of the short films land a few laughs. But even the weakest material is lifted by the actors.
    • 21 Metascore
    • 38 Roger Moore
    Hansel & Gretel: Witch Hunters is more Gatling guns and grenades than The Brothers Grimm.
    • 54 Metascore
    • 38 Roger Moore
    It's a junky, crowd-pleasing movie of sidekicks – Guzman and Knoxville – bad acting, over the top shootouts, and catch phrases.
    • 52 Metascore
    • 38 Roger Moore
    LUV
    The absurd turns the story takes to serve up streetwise and bloody "life lessons" for the kid will make any parent blanch and any movie lover roll his or her eyes.
    • 43 Metascore
    • 38 Roger Moore
    For all the heists, chases and shoot-outs, it's a sluggish picture. Characters feel the need to stop the action to explain themselves. Thoroughly.
    • 28 Metascore
    • 38 Roger Moore
    Loud and tedious, “Die Hard 5” is a shaky-cam/Sensuround blast of bullets and bombs, digital explosions and death defying feats of defying death.
    • 39 Metascore
    • 38 Roger Moore
    Rapace is all over the place with her performance — needy, then self-assured, enraged, then in love. The always feral Farrell seems as dismayed by her as the rest of us.
    • 26 Metascore
    • 38 Roger Moore
    Cranking out two formulaic movies like this a year show the Atlanta mogul’s true ambition — replacing all those soap operas TV is canceling, two hours at a time.
    • 26 Metascore
    • 38 Roger Moore
    No One Lives has to give away its biggest, best secret (the killers have messed with the wrong guy) far too early for its own good.
    • 33 Metascore
    • 38 Roger Moore
    An undemanding, childish adventure picture.
    • 41 Metascore
    • 38 Roger Moore
    Mostly, it’s just a clumsy lecture about who we’re becoming, haves vs have-nots, with the haves armed to the teeth.
    • 44 Metascore
    • 38 Roger Moore
    If you’re going to commit to a blasphemous stoner comedy mocking the New Testament prophesy of the coming Rapture, you’d better go all in. Because halfway isn’t funny.
    • 29 Metascore
    • 38 Roger Moore
    There are interesting story elements and locations. But the claustrophobia of the car works against it.
    • 60 Metascore
    • 38 Roger Moore
    Give it up for Sandra Bullock and Melissa McCarthy. You’ll never see them work harder at a comedy than in The Heat, a stumbling, aggressively loud and profane cop buddy picture where they struggle to wring “funny” out of a script that isn’t.
    • 53 Metascore
    • 38 Roger Moore
    In Let Me Explain, you’re never NOT aware that you’re watching a gifted, rubber-faced/rubber voiced performer (his “Laugh at My Pain” concert film was a surprising hit in 2011) work too hard to make inferior material go over.
    • 26 Metascore
    • 38 Roger Moore
    It’s coherent enough, but entirely too long and unpleasant when it could have been one brutishly edgy hoot after another.
    • 36 Metascore
    • 38 Roger Moore
    Hot Flashes don’t generate much heat — comical or otherwise. A pity, since that rare menopause comedy is a terrible thing to waste.
    • 19 Metascore
    • 38 Roger Moore
    It’s another pointless romp through Sandlerland — where the women are buxom, the kids have catch-phrases and the jokes are below average.
    • 25 Metascore
    • 38 Roger Moore
    The worst comic book adaptation since “Jonah Hex.”
    • 34 Metascore
    • 38 Roger Moore
    Filled with Smurf wholesomeness, Smurf puns and posi-Smurf messages about never giving up “on family,” The Smurfs 2 still sucks Smurfberries.

Top Trailers