For 2,296 reviews, this critic has graded:
  • 48% higher than the average critic
  • 4% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 5.1 points lower than other critics. (0-100 point scale)

Roger Moore's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 12 Years a Slave
Lowest review score: 0 Mike Boy
Score distribution:
2296 movie reviews
    • 75 Metascore
    • 88 Roger Moore
    Thanks to Oldman’s unerring portrayal of a deeply flawed man rising to face a crisis, and inspiring a nation to rise with him, it’s an equally worthy reminder that there have been bad times before today’s, and that people, great and small, saw them through.
    • 64 Metascore
    • 88 Roger Moore
    This is what filmed spectacle used to look like — a trip to a place or time most of us could never see.
    • 64 Metascore
    • 88 Roger Moore
    The sweet, the comic and the tragic blend together most agreeably in the winsome French romance The Hedgehog.
    • 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.
    • 49 Metascore
    • 88 Roger Moore
    Through Short’s American Songbook jazz, I knew about the place long before I ever visited New York. And Miele’s documentary lets us know it even better, even if we can’t afford the cheapest rooms (not head-spinningly expensive). That would be, of course, the “Harrison Ford Suite.”
    • 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.
    • 86 Metascore
    • 88 Roger Moore
    The story takes a surprising turn midway through, a change in direction that deepens the experience for the viewer, making us culpable in at least part of the misery these two face.
    • 63 Metascore
    • 88 Roger Moore
    Rio
    Comical, colorful, wonderfully cast and beautifully animated.
    • 67 Metascore
    • 88 Roger Moore
    A Mexican-accented kids’ cartoon so colorful and unconventionally dazzling it almost reinvents the art form. As pretty as a just-punctured pinata, endlessly inventive, warm and traditional, it serves up Mexican culture in a riot of Mexican colors and mariachi-flavored music.
    • 69 Metascore
    • 88 Roger Moore
    Of all the gonzo-goofy comic book adaptations that embrace video gaming sensibilities, Scott Pilgrim vs. The World is the gonzo-goofiest.
    • 76 Metascore
    • 88 Roger Moore
    As he did with “The Dallas Buyers’ Club,” director Jean-Marc Vallée covers this inner and outer journey with a minimum of fuss. The flashbacks and their revelations, filling in the puzzle, are sparingly doled out. The stunning scenery Cheryl hikes through is barely noticed.
    • 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.
    • 81 Metascore
    • 88 Roger Moore
    Portman lets us feel the way her loss utterly empties life of meaning and purpose. But Chilean director Pablo Larrain (“The Club”) lets little John Jr. (Aiden and Brody Weinberg) provide the heart-wrenching release, just as he did back at that state funeral in 1963.
    • 99 Metascore
    • 88 Roger Moore
    Gay coming-of-age stories are common enough these days, but Moonlight finds a new perspective, a new setting and a compelling new filmmaking voice to tell that story. It’s one of the best pictures of the year.
    • 76 Metascore
    • 88 Roger Moore
    It may be generic and inspiring TV movie subject matter, but Green immerses us in this world and punches up the limited horizons that face these characters.
    • 90 Metascore
    • 88 Roger Moore
    Grim, gruesome and glorious.
    • 91 Metascore
    • 88 Roger Moore
    Using archival footage, inventive animated recreations of incidents and chilling aerial smart-bomb views of air strikes as they happen, Moreh creates a simple yet elegantly damning film.
    • 81 Metascore
    • 88 Roger Moore
    Long, patient and chilling, it vividly captures a time in America and the feel of divided Berlin in the muted blues and greys that color our memories of that “duck and cover” age.
    • 83 Metascore
    • 88 Roger Moore
    This performance reminds us that Bridges is that rare actor who has never had to make that apology. Crazy Heart lets him be every bit as grand as we’d hope him to be.
    • 66 Metascore
    • 88 Roger Moore
    American Animals is a tense, taut sober and occasionally silly thriller that reminds us that the Caribbean Island at the end of the Hollywood heist is always a mirage.
    • 67 Metascore
    • 88 Roger Moore
    In the best picture of 2015, Carey Mulligan is the stoic, long-suffering sweatshop worker radicalized into action.
    • 78 Metascore
    • 88 Roger Moore
    Amanda Knox may not change anybody’s mind. But it should.
    • 63 Metascore
    • 88 Roger Moore
    Chemistry is king. It's one reason the rom-com has long seemed like the toughest code for Hollywood to crack. But never underestimate the power of snappy, rapid-fire banter, the paving stones of the Hollywood road to romance.
    • 61 Metascore
    • 88 Roger Moore
    Start to finish, it’s a delight.
    • 63 Metascore
    • 88 Roger Moore
    This winning film wins you over without manipulation, without guile and without ulterior motives. If you can’t feel good about humanity after this one, you can’t feel good.
    • 88 Metascore
    • 88 Roger Moore
    I love the light, intensely likable lilt Whishaw (“Q” in the latest James Bond films) gives Paddington’s line-readings. You forget the bear is animated and that bears can’t talk, and your children won’t even need that much encouragement to suspend disbelief.
    • 81 Metascore
    • 88 Roger Moore
    The Big Short becomes not just amusing and explanatory, a real tour de force for its fast-talking cast.
    • 76 Metascore
    • 88 Roger Moore
    A chilling detective tale, a horrific sexual abuse drama and an overlong, emotional, tie-up-every-loose-end melodrama that is sure to be half an hour shorter when Hollywood remakes it without the Swedish dialogue and probably without the cool Swedish edge.
    • 85 Metascore
    • 88 Roger Moore
    Michael B. Jordan (“Red Tails”) is never less than riveting as Oscar, and he has to be.
    • 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.
    • 77 Metascore
    • 88 Roger Moore
    It's an unblinking look into the lives of soldiers doing the most thankless job of all.
    • 61 Metascore
    • 88 Roger Moore
    Almost every shot is a postcard-perfect African vista, and every animal shown in majestic close-up.
    • 65 Metascore
    • 88 Roger Moore
    A most deserving Oscar winner and a film that could provoke discussion anywhere it is shown, anywhere people of any age are being bullied.
    • 72 Metascore
    • 88 Roger Moore
    This delightful and inspiring drama succeeds the way Hawking has, even as he fails to deliver that “one theory” that explains “everything.” It’s reaching beyond your grasp, in life, in science and in film biographies, that achieves greatness.
    • 75 Metascore
    • 88 Roger Moore
    Cedar has given Gere his own “House of Cards” to move into, where the game analogies spin out as chess and, most tellingly, dominoes. Norman needs them to fall just so, and if they do, he will be a man to be reckoned with.
    • 73 Metascore
    • 88 Roger Moore
    [Renner] and Sheridan and some terrific, under-used supporting players...give Wind River a somber, grim grace and the relentless forward motion of a thriller.
    • 75 Metascore
    • 88 Roger Moore
    The rawboned Hawkes manages both charm and menace in the same look, and Dancy gives his character a testy, fearful edge that doesn't make him scary, but rather someone we fear for.
    • 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.
    • 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.
    • 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.
    • 62 Metascore
    • 88 Roger Moore
    The funniest kids’ cartoon of the summer.
    • 73 Metascore
    • 88 Roger Moore
    It does a poor job of showing the tragedy of Turing’s hidden life but a better job at making a bigger case — unconventional people make unconventional thinkers.
    • 77 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.
    • 74 Metascore
    • 88 Roger Moore
    The lost art of slapstick — physical comedy — is so rarely practiced that when true masters of it show up on screen it’s like a surprise smack right on your funnybone.
    • 90 Metascore
    • 88 Roger Moore
    It’s a somber film with flashes of wit, with funereal pacing and long, poignant close-ups that let the players — especially Ashkenazi and Adler — let us see there’s more than what we see on the surface, just with a look.
    • 96 Metascore
    • 88 Roger Moore
    What Lonergan has created here is one of the cinema’s defining statements on the kind of grief that leaves you gutted, of wounds that will never heal. He’s got the guts to make us uncomfortable in scene after scene, and the courage to deny us “The Hollywood Ending.”
    • 74 Metascore
    • 88 Roger Moore
    Whatever its length and melodramatic third-act touches, Interstellar is a space opera truly deserving of that label, overreaching and thought-provoking, heart-tugging and pulse-pounding. It’s the sort of film that should send every other sci-fi filmmaker back to the drawing board, the way Stanley Kubrick did, a long time ago in a millennium far away.
    • 73 Metascore
    • 88 Roger Moore
    Hoffman is merely the first among equals in a stellar cast.
    • 81 Metascore
    • 88 Roger Moore
    Skyfall is far and away the best, and the most British of the Daniel Craig-James Bond movies.
    • 65 Metascore
    • 88 Roger Moore
    It's a bleak yet optimistic film, and Ferrell perfectly underplays his Carver anti-hero and delivers a rich, layered and subtle performance. And a funny one.
    • 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.
    • 74 Metascore
    • 88 Roger Moore
    For the Love of Spock is everything you’d hope for in a biography of one of the most universally beloved characters and character actors of all time.
    • 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.
    • 68 Metascore
    • 88 Roger Moore
    Audacious, violent and disquieting, Rise of the Planet of the Apes is a summer sequel that's better than it has any right to be.
    • 71 Metascore
    • 88 Roger Moore
    Cassel's performance...the best reason to see this, one of the best French (In French with English subtitles) crime thrillers of the new millennium.
    • 82 Metascore
    • 88 Roger Moore
    It takes nothing away from The End of the Tour in labeling this Jason Segel/Jesse Eisenberg dramedy a “bromance.”
    • 72 Metascore
    • 88 Roger Moore
    Gibney uses interviews, fresh and archival, and a court deposition and reporters’ memories of long-exposure to Jobs for his evidence. And it’s damning, from the financial cheating to the lack of philanthropy to the arrogance that let him think he knew better than modern medicine how to treat his cancer.
    • 90 Metascore
    • 88 Roger Moore
    Strip away the French and Arabic subtitles, the French-prison setting and the Muslim-messianic title, and A Prophet, opening Friday at The Enzian, would still be the grittiest prison thriller in years.
    • 67 Metascore
    • 88 Roger Moore
    Gospel According to André immortalizes a man of his moment, who invented himself and made his own moment. And as he winds down his career and takes a deep, sweeping, cape-bedecked parting bow, this self-flattering film biography gives us one last chance to appreciate what a trip he’s had, and what a trip he’s been.
    • 82 Metascore
    • 88 Roger Moore
    It’s clever to the edge of brilliant, and damned funny, start to finish.
    • 74 Metascore
    • 88 Roger Moore
    Skarsgard has carved out a wide niche for his varied and colorful acting career to inhabit. He’s stoic and unflinching here, a man on a mission.
    • 86 Metascore
    • 88 Roger Moore
    That humor is a the delicious underpinning to whatever melodrama happens as these five connect and clash. And that humor is what reassures us, even at its darkest moments, that no matter how things work out for the adults, these kids are going to be all right.
    • 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.
    • 74 Metascore
    • 88 Roger Moore
    It's the best heist picture since "Heat."
    • 97 Metascore
    • 88 Roger Moore
    Not just rewarding and quite moving, but important oral and visual history, a movie worth watching even if you think you’ve read or seen all there is to know about this seminal figure in American history.
    • 85 Metascore
    • 88 Roger Moore
    Oscar winner Morgan Neville (“20 Feet From Stardom”) carves in stone the case for Rogers’ as an authentic American TV saint.
    • 88 Metascore
    • 88 Roger Moore
    The first great movie of the year.
    • 92 Metascore
    • 88 Roger Moore
    Dazzling, scary and sentimental.
    • 84 Metascore
    • 88 Roger Moore
    An imaginative, scary and wonderfully rendered stop-motion fright.
    • 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.
    • 95 Metascore
    • 88 Roger Moore
    Best of all is the man who stands front and center, thinking, smoking and expounding, off-the-cuff, about a subject he spent his career and life mulling over, fuming over and struggling to understand in depth.
    • 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.
    • 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.
    • 81 Metascore
    • 88 Roger Moore
    A dialogue-free romp that is a shear delight, shear perfection, if not quite a master-fleece.
    • 76 Metascore
    • 88 Roger Moore
    Of all the scary guys Michael Shannon has ever played — sociopaths, murderers, hell, even General Zod in a Superman movie — none is more frightening that his character in 99 Homes.
    • 52 Metascore
    • 80 Roger Moore
    300
    A newfangled old-fashioned movie about glory, honor, sacrifice and a martial code that crosses into fascism, homoerotism and homophobia at the same time -- there are plenty of turn-off buttons in this one. But by Zeus, this is a ripping yarn, told with limb-rending gusto, an iconic ancient battle as seen by an iconic comic-book creator, Frank Miller.
    • 66 Metascore
    • 80 Roger Moore
    This Mission unfolds at a near dead-sprint -- frenetic editing, whiplash camera pans, all hiding an intentionally under-explained plot and generic action beats that will be familiar to anyone who has ever seen a ticking-clock thriller. But if Mission: Impossible 3 is the first pitch of the popcorn-movie season, just two words come to mind -- butter up. [5 May 2006, p.8]
    • Orlando Sentinel
    • 58 Metascore
    • 80 Roger Moore
    The direction, by Marc Forster (Monster's Ball, Finding Neverland), is breathless, with lovely grace notes — he uses silences to end his action beats. And if this incarnation of Bond still doesn't inspire affection, he does command respect, awe, a sense that a real man is risking life and limb for queen and crown.
    • 70 Metascore
    • 75 Roger Moore
    It’s also overlong and sentimental. But it’s a vivid, warm and amusing portrait of a real man, someone whose life began in darkness, experienced the light of a great love and has collapsed into a pit of self-pity.
    • 81 Metascore
    • 75 Roger Moore
    Locke will hold your interest as it presents a side of the burly, bluff “Dark Knight” villain we have never seen before on screen.
    • 58 Metascore
    • 75 Roger Moore
    It’s engrossing, violent, frightening and funny in the ways it captures the way kids speak with no adults around, and the way kids act when society’s rules take a back seat in time of war.
    • 74 Metascore
    • 75 Roger Moore
    Satire, parody, racist skewerings of racism, sacred cows slaughtered, silly slides down the slippery slope into Anti-Semitism. And breasts. Lots and lots of breasts!
    • 64 Metascore
    • 75 Roger Moore
    Even if it is too brief and leaves too much out to be “definitive,” it serves up heaping helpings of Mifune’s film work and bits of home movies and the like to create a fascinating man-behind the stoic face/samurai icon below-the-topknot portrait of Mifune.
    • 74 Metascore
    • 75 Roger Moore
    The combination of a flexible, funny cast, an amusing situation and a style of movie-making that embraces every happy, nasty accident make this if not the funniest, then certainly the most uncomfortable comedy of the summer.
    • 83 Metascore
    • 75 Roger Moore
    It’s still a welcome, entertaining and overdue delivery of credit where credit was and is due.
    • 73 Metascore
    • 75 Roger Moore
    Mark Jarrett’s amiable road picture has a morbid whimsy and a coming-of-age hook.
    • 84 Metascore
    • 75 Roger Moore
    It’s a compact, perfect performance in a tight, tense genre picture that manages just enough twists and surprises to separate it from the hired-killer-movie pack.
    • 77 Metascore
    • 75 Roger Moore
    On Body and Soul isn’t as linear in its storytelling style or as results-oriented in its plot as a Hollywood or Western European film wrestling with these themes might be. That’s why the foreign language Oscar category is so valuable. It insists that viewers at least take a shot at seeing the world through another culture’s eyes via challenging films.
    • 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
    An engaging take on a drifting character at an age when we’re all adrift.
    • 79 Metascore
    • 75 Roger Moore
    “Cheerful” and “triumphant” aren’t words that come to mind when you think of Alzheimer’s, the debilitating illness that destroys memory, mind and body. But darned if country star Glen Campbell doesn’t manage that in Glen Campbell: I’ll Be Me.
    • 65 Metascore
    • 75 Roger Moore
    The lack of organization keeps this from being a complete film, or a great one. That Summer is a footnote to “Grey Gardens.” But for those wholly engrossed in the history, the tragedy and the “real Beales,” before “Grey Gardens” set their personas in stone and made them immortal, it’s a fascinating artifact and another piece of the puzzle of who they were before the caricatures took over.
    • 56 Metascore
    • 75 Roger Moore
    The situations are painstakingly set up and downright painful to sit through. So enjoy, or endure the appetizers, because with this Dinner, dessert is truly the topper.
    • 68 Metascore
    • 75 Roger Moore
    Yelchin doesn't generate the same warmth or passion that Jones does. That is partly by design, as this whole affair was her idea, after all.
    • 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.
    • 80 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.
    • 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.
    • 67 Metascore
    • 75 Roger Moore
    Mr. Holmes is an elegiac, understated tale of The Detective in Winter, a rare thing in its own right.
    • 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.
    • 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.

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