For 2,210 reviews, this critic has graded:
  • 49% higher than the average critic
  • 4% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 4.7 points lower than other critics. (0-100 point scale)

Roger Moore's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Three Billboards Outside Ebbing, Missouri
Lowest review score: 0 Mike Boy
Score distribution:
2210 movie reviews
    • 55 Metascore
    • 75 Roger Moore
    This movie hangs utterly on performance, and DiCaprio’s Gatsby is mesmerizing.
    • 75 Metascore
    • 75 Roger Moore
    The wow factor alone makes Oceans a great Earth Day/Earth Week at the movies.
    • 81 Metascore
    • 75 Roger Moore
    This is a movie that floats by on dazzlingly silly banter and well-slung slang.
    • 52 Metascore
    • 75 Roger Moore
    A detail-oriented thriller that lets us keep up even as it races to a conclusion.
    • 61 Metascore
    • 75 Roger Moore
    So many “lose my virginity over the summer” comedies, from “American Pie” to “Superbad,” “Can’t Hardly Wait” to “Girl Next Door.” But aside from the hilarious “Twilight Saga,” how many have told that torrid tale from the girl’s point of view? The To Do List is a summer romantic comedy dedicated to rectifying that imbalance in a single stroke.
    • 71 Metascore
    • 75 Roger Moore
    We knew Livingston, Kendrick and Johnson (“Safety Not Guaranteed”) would work in this setting. But Wilde adds to the growing repertoire she showed off in “Deadfall” and “Butter,” films no one saw but which revealed that she’s a lot more than a pretty face.
    • 83 Metascore
    • 75 Roger Moore
    It’s not edge-of-your-seat alarming and its jolts are more creepy than shocking. But for all its period detail and head games, “Witch” works on the most primitive level.
    • 65 Metascore
    • 75 Roger Moore
    There are more funny lines and opening credit sight gags in this than most comedies have in their full running time.
    • 58 Metascore
    • 75 Roger Moore
    There's a taste of Southern Gothic here, even though this story is set in Michigan. The incendiary mix of religion, sex and crime threatens to ignite every time Stone tries to turn the interogations back on Mabry.
    • 64 Metascore
    • 75 Roger Moore
    Hawke and Ejogo, who played civil rights icon Coretta Scott King in “Selma,” have enough soul and charisma and chemistry to hold the screen and make us feel Born to be Blue, even if we, like Jane in the movie, never quite “get” Chet Baker.
    • 87 Metascore
    • 75 Roger Moore
    Chilling, cruel and funny — in an icy, Swedish way.
    • 75 Metascore
    • 75 Roger Moore
    Fiennes holds it all together by force of what he does show us about the man, his kindness tempered with cruelty, the charity he practiced and preached, the morality he could never live up to. It’s the visible great man who makes The Invisible Woman worth watching.
    • 85 Metascore
    • 75 Roger Moore
    There's a soap opera going on inside that tin can with a cannon.
    • 82 Metascore
    • 75 Roger Moore
    The Mercury 13 started getting their due in the ’90s, when the first woman to pilot the Space Shuttle took off. This illuminating, artful and inspiring film completes that process.
    • 77 Metascore
    • 75 Roger Moore
    Victoria shows us just how real things can get in this tiny-camera/infinite filming (video) capacity era.
    • 83 Metascore
    • 75 Roger Moore
    It’s not a deep film, but it is a rich one — full of flesh and blood characters, realistic “coming of age” moments and pithy homilies on the state of relationships, gender roles, “the California Dream” and the American one.
    • 59 Metascore
    • 75 Roger Moore
    Things drag, here and there. But kids will dig the slapstick, the talking dog and giggle at what flies out of the Sphinx’s butt, or drops from the rear-end of the Trojan Horse. Adults will be tickled at the usual Dreamworks parade of one-liners, running gags and puns, and feel a little sentimental.
    • 66 Metascore
    • 75 Roger Moore
    We see the mistakes before the principals do. That’s what makes the news-story-gone-wrong drama Truth so compelling.
    • 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.
    • 60 Metascore
    • 75 Roger Moore
    Actor-turned-director and co-writer Bill Watterson keeps the tone light and the surprises surprising, for the most part. The energy flags as the picture loses a little of its momentum in the middle acts. It’s only 80 minutes long, so even that doesn’t hurt it much.
    • 76 Metascore
    • 75 Roger Moore
    The objects he assembles or carves out of stone will outlive him, but it’ll only be a hint of the mind that saw beauty in the destruction, decay and rebirth that nature itself was creating all around him.
    • 69 Metascore
    • 75 Roger Moore
    As slight as Venus feels, it’s just titillating enough to matter, just twisted enough — Really, casting your wife and a guy who looks like you? — to suggest that even in his 70s, even with virtually no budget, Polanski can deliver a compelling walk on the kinky side.
    • 72 Metascore
    • 75 Roger Moore
    Feuerzeig makes the fateful choice of telling the whole story through Albert’s eyes, and decked out in too-old-for-this leather and straightened hair and piercings, she conjures up a hellish life.
    • 64 Metascore
    • 75 Roger Moore
    It’s good, not great, and it’s not Ayer’s fault that the rarer these B-movies become, the more we expect from them.
    • 68 Metascore
    • 75 Roger Moore
    It’s gorgeous, intimate and beautifully photographed. And it’s cute and kid-friendly, with just enough jokes to balance the drama that comes from any film that flirts with how dangerous and unforgiving The Wild actually is.
    • 76 Metascore
    • 75 Roger Moore
    Laugh-out-loud funny and production-designed to death, Guardians of the Galaxy pops off the screen.
    • 76 Metascore
    • 75 Roger Moore
    The climax is deflating and lets down a fabulously grey woods, heather and moors production design and the wicked promise contained in the story’s premise — that there’s a little Lady Macbeth in every woman, at least as far as men are concerned.
    • 52 Metascore
    • 75 Roger Moore
    Aniston's work opposite the screen's premiere mild-mannered funnyman shows her at her most engaged and pitch perfect.
    • 71 Metascore
    • 75 Roger Moore
    Raunchy, rude and weapons-grade wicked, Girls Trip is the funniest big studio comedy since “Trainwreck.”
    • 52 Metascore
    • 75 Roger Moore
    Sweet, sentimental, silly and star-studded, Nanny McPhee Returns is one of the best children's movies of the year.
    • 75 Metascore
    • 75 Roger Moore
    It’s bracing and inspiring, what filmmakers Keith Fulton and Leo Pepe show us in that first hour.
    • 78 Metascore
    • 75 Roger Moore
    A winking comedy with dark underpinnings and some of Shakespeare’s most wicked wordplay.
    • 72 Metascore
    • 75 Roger Moore
    Gould creates a fascinating portrait of the work and the patient, harried and detail-oriented folks who do it.
    • 75 Metascore
    • 75 Roger Moore
    It’s more engrossing than terrifying, horrific instead of simply scary.
    • 58 Metascore
    • 75 Roger Moore
    13 Minutes is a taut, smart and straightforward bio-drama of this largely forgotten early figure in German resistance to the Hitler regime.
    • 74 Metascore
    • 75 Roger Moore
    It’s a fun film, not quite as lighthearted as the similar “Knuckleball” documentary of a short while back, but amusing enough.
    • 74 Metascore
    • 75 Roger Moore
    Inception is an elegant, portentous ride, though I’m not sure Nolan is any closer to visualizing the real (dream) deal than Hitchcock was.
    • 64 Metascore
    • 75 Roger Moore
    Glass Chin is a boxing picture with very little actual boxing.
    • tbd Metascore
    • 75 Roger Moore
    For shout at the screen, redemptive revenge that you can sink your teeth into, Bad Day for the Cut is hard to beat. Even if you almost need subtitles to unravel the dialogue at times.
    • 51 Metascore
    • 75 Roger Moore
    Like "42," Cesar Chavez lacks the budget to feel truly epic in scope. The violence is scattered, shocking and personal, the struggles within the union muted but the outrage — is palpable.
    • 74 Metascore
    • 75 Roger Moore
    It’s manipulative and overlong, too loud and “Incredibles” action-packed for the very young. But the manipulation errs on the side of mercy, compassion, sacrifice and humanity.
    • 51 Metascore
    • 75 Roger Moore
    It is funny, and Redford, gracious as ever, makes a wonderful straight-man for a comic co-costar who has the face, voice and posture of a geezer who probably should have tackled this healing hike 20 years earlier.
    • 71 Metascore
    • 75 Roger Moore
    Run & Jump is an uncommonly offbeat and charmingly unconventional romance, an Irish comedy that lets itself get very serious, now and again, and is all the richer for it.
    • 76 Metascore
    • 75 Roger Moore
    It’s an absolutely chilling road picture, filled with tension, dread and a threat of violence. The longer we don’t know where that threat is coming from, the more suspenseful it is.
    • 71 Metascore
    • 75 Roger Moore
    Florence is hilarious, and sadly fragile, and Streep makes her pain both funny and poignant.
    • 81 Metascore
    • 75 Roger Moore
    More impressive than moving, more thought-provoking than heartfelt — chilling in its magnificence.
    • 68 Metascore
    • 75 Roger Moore
    It’s not on a par with the sublime “Wallace & Gromit” films or the brilliant “Chicken Run.” But it’s quite funny, and delightful to see finger prints in not-quite-perfect clay arms and legs.
    • 81 Metascore
    • 75 Roger Moore
    Souffle-light and long on charm.
    • 51 Metascore
    • 75 Roger Moore
    A little more chaos might have truly lit this one up.
    • 72 Metascore
    • 75 Roger Moore
    It’s repetitive and jargon-filled and a little too long. But “Zero” is still a fascinating story, troubling and chilling when you realize that the people in charge of the government now are the very people we need government to protect us from — scammers, frauds, “wealth re-distribution” hustlers and their protectors.
    • 81 Metascore
    • 75 Roger Moore
    No
    Here’s a fascinating piece of history that escaped much of the world’s notice, when it happened back in 1988.
    • 65 Metascore
    • 75 Roger Moore
    A tale worthy of a hundred Cold War thrillers.
    • 64 Metascore
    • 75 Roger Moore
    It's a celebration of great old actors set in a world of once-great singers, and Hoffman's affection for them and the material shows in every frame.
    • 67 Metascore
    • 75 Roger Moore
    The film could have used a little context....But “The Race that Eats its Young” is still a fun and quick introduction to a sport that, to most of us, seems so extreme as to invite the sort of eccentrics the filmmakers capture here.
    • 88 Metascore
    • 75 Roger Moore
    Exarchopoulos is a revelation, wearing her neediness, vulnerability and arousal with every muscle in her face, her posture, even her hair. It’s an utterly naked performance, literally and figuratively.
    • 69 Metascore
    • 75 Roger Moore
    As spy thrillers go, more chilling than thrilling. But that's what makes it easy to relate to.
    • 57 Metascore
    • 75 Roger Moore
    A movie franchise can only take us by surprise once, and by that measure, Iron Man 2 is a preordained letdown. But so much of what gave the first film its gas — is still here.
    • 66 Metascore
    • 75 Roger Moore
    Marshall makes for an entertaining take on history and Boseman’s winning performance a playful spin on an icon the passing decades have chiseled in stone as a Great Man and one of the giants of American legal history.
    • 41 Metascore
    • 75 Roger Moore
    Whatever twists this puzzle tosses at us, the film reminds us that a great actor, in close-up, telling a story with just her or his eyes, is still the greatest special effect the movies have to offer. This cast telling this story ensures us that nobody will be dozing off Before I Go to Sleep.
    • 57 Metascore
    • 75 Roger Moore
    Horror is all about that short-circuit the screen's technical manipulations cause in our brain, so this isn't high art. But Mama is easily the most moving, most chilling ghost story since "Insidious," an emotional tale efficiently and affectingly told.
    • 11 Metascore
    • 75 Roger Moore
    Final Portrait is a slight little nothing of a story, but I delighted in its wordplay, its depiction of a Paris as imagined in the greys and dull browns of Giacometti’s art.
    • 68 Metascore
    • 75 Roger Moore
    It’s too much a movie of “types,” and loses track of story elements that would seem important enough to warrant further exploration. The whole Christian conservative law-and-order mantle feels like a fuzzy afterthought on Jane, forgotten far too soon.
    • 52 Metascore
    • 75 Roger Moore
    There’s something so delicious when Brits such as Thompson and Irons sink their fangs – sorry – into Deep South dialect. Thompson devours scenery, supporting players and dialogue with every “Bless your heart, shooo-gah” in the script, and Irons curls his non-existent mustache with every syrupy zinger.
    • 57 Metascore
    • 75 Roger Moore
    What lifts this Irish film above the “Here they come, SHOOT’em!” trap are the moral dilemmas, the shaky ground underneath either side of those dilemmas and performances that can be downright wrenching in their humanity.
    • 60 Metascore
    • 75 Roger Moore
    The delightful “Footnotes” is grounded in reality, light on its feet, with just enough intrigues, betrayals and twists to fill 80 brisk minutes with minor delights.
    • 67 Metascore
    • 75 Roger Moore
    Even though there’s nothing we haven’t seen before in this movie, she and Some Freaks remind us not just of the cruelties of the teen years, the insecurities and secret shame, but of how young we are when we figure out that it’s all just perception.
    • 73 Metascore
    • 75 Roger Moore
    Ghost Protocol is the most action-packed, most jokey and self-aware, most James Bond-ish of all the Cruise Mission films.
    • 60 Metascore
    • 75 Roger Moore
    Trumbo is a warm and witty profile in courage.
    • 80 Metascore
    • 75 Roger Moore
    The documentary Room 237 is an ostensibly thoughtful deep reading, a deconstruction of Stanley Kubrick’s film of Stephen King’s 1980 novel “The Shining.” What it really is, is a bunch of obsessives obsessing about an obsessive movie maker’s obsessive movie.
    • 60 Metascore
    • 75 Roger Moore
    Past Life is best appreciated as an attempt to finally give permission, at the source of the grievance (Israel), not to forget, but to at least forgive.
    • 71 Metascore
    • 75 Roger Moore
    The fact that Bulger, at long last, is rotting in jail, is little consolation. Perhaps only a Hollywood version of this story, one starring Johnny Depp, can give it a satisfying conclusion.
    • 85 Metascore
    • 75 Roger Moore
    The Ornithologist is so stunningly strange and out of its time that this slow and deliberate film holds your attention, making you wonder what wonder or calamity will befall Fernando next.
    • 68 Metascore
    • 75 Roger Moore
    It’s never self-congratulatory, rarely “I told you so,” although if anybody on Planet Earth is entitled to owning that phrase it’s Al Gore.
    • 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.
    • 60 Metascore
    • 75 Roger Moore
    Pretty much the perfect scary movie for kids.
    • 53 Metascore
    • 75 Roger Moore
    The Program wisely hangs on Foster’s fierce performance, transforming himself into Lance.
    • 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.
    • 73 Metascore
    • 75 Roger Moore
    This quiet, dread-filled combat picture works, sketching in the men beyond the “types” in impressionistic scenes that relate history, advance the story and break the heart.
    • 74 Metascore
    • 75 Roger Moore
    Seriously, for a movie about garbage, Wasted! (Anna Chai and Nari Kye co-directed it) is awfully appetizing.
    • 79 Metascore
    • 75 Roger Moore
    Beasts on No Nation makes a terrific vehicle for Elba and a grim reminder that even if we’re tired of hearing of it.
    • 62 Metascore
    • 75 Roger Moore
    It’s the directing debut of Angus MacLachlan, who wrote “Junebug” and thus gave Amy Adams the perfect introduction to the world. “Goodbye” displays the same canny ear for human interactions, both comical and confessional.
    • 76 Metascore
    • 75 Roger Moore
    The helplessness one gets being pinned down and tickled, the chilling fear of that, nicely parallels the chill and fear of reporting a story powerful people don’t want reported, which Farrier shows us in this odd and shocking expose.
    • 68 Metascore
    • 75 Roger Moore
    Berg reminds us that even in the worst disaster, people can be selfless, heroic, and in the case of Aaron Dale Burkeen, professional even if those who gamble with their fates are not.
    • 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.
    • 74 Metascore
    • 75 Roger Moore
    "It was a perfect tabloid story," the Brit Peter Tory, who covered it, remembers. "Kinky sex, religion, kidnapping, a beauty queen."
    • 62 Metascore
    • 75 Roger Moore
    It’s a fine film, and a surprising history lesson — not because the Germans don’t remember the Holocaust, but because we’re reminded that there was a time when they didn’t want to.
    • 51 Metascore
    • 75 Roger Moore
    Yes, it’s aimed at believers. But Reynolds & Co. avoid the traps of Mel Gibson’s movie and many others by making these times horrifically real, but these Biblical figures and what they were about compelling in their kindness, soft-selling their message so sweetly that even a Roman with blood on his hands will question his Empire, his religion and his way of living before all is said and done.
    • 54 Metascore
    • 75 Roger Moore
    It's a little racy for our "High School Musical" set. But Bran Nue Dae (say it out loud) will play anywhere fans like a musical so cute you want to pinch its cheeks.
    • 75 Metascore
    • 75 Roger Moore
    Steven Soderbergh, rightly considered one of Hollywood’s smartest movie makers, is at his cleverest in Side Effects, a canny, cunning big idea thriller in a minor key, an engrossing zeitgeist whodunit about Wall Street, Big Pharma, prescription drugs and the power we give psychiatry and psychologists.
    • 83 Metascore
    • 75 Roger Moore
    Gloria has a palpable loneliness about it, and Garcia makes us feel that and fear the emptiness that is staring Gloria in the face. Not a lot happens in this closely-observed character study, but few recent movies have dared to show this stage of life, the creeping solitude that memories of your disco past cannot fend off.
    • 70 Metascore
    • 75 Roger Moore
    Hamm gives us everything we saw over the years-long run of “Mad Men” in an intricate, concise 110 minute movie — swagger, romance, hope and secrets, professional mastery and gutted personal oblivion.
    • 67 Metascore
    • 75 Roger Moore
    Lucy (Hadley Belle Miller) is still full of nickel-a-session psychotherapy, Linus still soulful enough to recognize his friend’s heart. And Charlie’s sister Sally (Mariel Sheets) still assumes Linus is her “Sweet Baboo.”
    • 59 Metascore
    • 75 Roger Moore
    A winning "Robin Hood and his Merry Doormen" comedy about getting even. A cast of comedy specialists each deliver their comic specialties to perfection, delivering double-takes and one liners so well that you don't notice how clunky the actual caper in this caper comedy is.
    • 66 Metascore
    • 75 Roger Moore
    A sensitive, unconventional baseball tale rendered in the muted tones of dread, a young player’s fear of letting everyone down.
    • 68 Metascore
    • 75 Roger Moore
    The “banality of evil” was never so hypocritical, so banal and so evil.
    • 84 Metascore
    • 75 Roger Moore
    Co-writer/director Russell Harbaugh has created a chamber tragedy, intimate in its dimensions, devastating in the damage we see spiral out of that one death.
    • 71 Metascore
    • 75 Roger Moore
    Katz’s script, settings and characters surprise and delight, and Kirke, Kravitz and Cho deliver performances perfectly in sync with a murder mystery set in Hollywood.
    • 65 Metascore
    • 75 Roger Moore
    As volcanic as Maguire needs to be, it’s those who react to Fischer most tellingly — Sarsgaard’s priest, and Schreiber’s Spassky — that make Pawn Sacrifice the gripping and entertaining history lesson that it is.
    • 81 Metascore
    • 75 Roger Moore
    Tobias Lindholm’s film has documentary realism even in its more melodramatic moments.
    • 76 Metascore
    • 75 Roger Moore
    The Oscar winning Moore slings just enough of an accent for her lines to be funny. Her top-knot hairstyle says everything about the character we need to know — frosty, severe.

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