For 1,142 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 0.4 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:
1,142 movie reviews
    • 53 Metascore
    • 63 Roger Moore
    So even though Signal isn’t great sci-fi, you’d never know it to look at it and listen to it.
    • 47 Metascore
    • 63 Roger Moore
    A genuine “bodice ripper” of a thriller, with the requisite heavy breathing that comes after said bodice is ripped. The sex isn’t explicit, but Olsen and Isaac suggest the heat that gives this doomed affair its momentum.
    • 56 Metascore
    • 63 Roger Moore
    The setting and various religious rifts are unfamiliar, if the domestic/romantic melodrama isn’t.
    • 63 Metascore
    • 63 Roger Moore
    The voice casting is on the money and these funny people - and I'm including Pitt, who plays this sort of self-mocking Adonis well, even in animated form - make this cute comedy come off.
    • 63 Metascore
    • 63 Roger Moore
    Director Thomas Balmes and his editors find moments of humor in “discoveries” or the unfettered urinating of a baby brought up without diapers.
    • 56 Metascore
    • 63 Roger Moore
    Fey flirts and Carell kvetches, Walhberg goes shirtless and Liotta eats Italian. No surprises there. What really clicks is the couple at the core.
    • 68 Metascore
    • 63 Roger Moore
    The Conjuring is like a prequel to 40 years of demonic possession thrillers.
    • 57 Metascore
    • 63 Roger Moore
    There's only so much humor you can wring from the f-bomb, even if you are a cute animated alien.
    • 37 Metascore
    • 63 Roger Moore
    “Mad Men” creator Matthew Weiner takes his act to the big screen with Are You Here, which turns out to be the most quotable Owen Wilson comedy since “Zoolander.”
    • 50 Metascore
    • 63 Roger Moore
    A ditzy film that offers more evidence that good actors, good action and one-liners don’t solve the one thing missing in every movie video game adaptation – a story that makes sense.
    • 59 Metascore
    • 63 Roger Moore
    This film based on Alan Glynn's novel "Dark Fields" is entirely too reliant on voice-over, a bit too tarted-up by Burger in an effort to make this head trip a visual experience.
    • 72 Metascore
    • 63 Roger Moore
    Lena Dunham's amusing meander through "post graduate delirium," a relationship comedy about nothing so much as the permanent relationships of family and New Yorker's relationship with space - and the lack of it.
    • 47 Metascore
    • 63 Roger Moore
    Red 2 goes down easily, from Marvin’s demented moments of relationship advice to Dame Helen’s tender and amusing “Hitchcock” reunion with Sir Anthony. There’s a knowing twinkle in their eyes, and in everybody else’s. “Yeah, we could’ve done a Bond film,” they seem to wink. “And it would’ve been a bloody fun one, at that.”
    • 67 Metascore
    • 63 Roger Moore
    A thriller that makes you wish you knew how to scream "O.M.G." in Korean.
    • 68 Metascore
    • 63 Roger Moore
    It adds bubbles to the show, but doesn’t change the essentially deadpan, amusingly banal nature of this journey and the two charming old men who take it.
    • 51 Metascore
    • 63 Roger Moore
    It's all quite lovely, mesmerizing – and right on the edge of sleep-inducing.
    • 54 Metascore
    • 63 Roger Moore
    Thanks for Sharing is a bit of a head-snapper in its tone changes, stumbling into flippancy. The light moments are appreciated, but they do tend to undercut the sobriety of it all.
    • 49 Metascore
    • 63 Roger Moore
    This tiny Catholic school for women dominated the sport at a turning point in history, and this plucky, old-fashioned sports drama sets the scene and tells the tale with a lot of heart and a dash of wit.
    • 49 Metascore
    • 63 Roger Moore
    In detail and combat spectacle, Stalingrad is hard to beat. And whatever its failings, one can’t help but be curious about a story as connected to national identity as this one, a film that like today’s Russia, feels more Soviet than Russian.
    • 53 Metascore
    • 63 Roger Moore
    A winning narration (read by Greg Kinnear) holds things together. And there's just enough script for a good cast to run with. Harris and Madigan lift the whole enterprise just by being who and what they are - great actors.
    • 48 Metascore
    • 63 Roger Moore
    Haters, head for the door. But Gleeks? Get your "Glee" on.
    • 50 Metascore
    • 63 Roger Moore
    That it lacks the snap, crackle and kapow of the summer's better comic book blockbusters isn't surprising. With all this effort riding on a big, expensive and rushed studio summer picture, the real miracle is that any of them come to life.
    • 61 Metascore
    • 63 Roger Moore
    A nail-biting thriller in the classic Hitchcock style.
    • 62 Metascore
    • 63 Roger Moore
    Writer-director John Carney re-plays his greatest hit with Begin Again, a semi-successful attempt to recreate the magic of the Oscar-winning musical “Once” in New York with a big name cast.
    • 49 Metascore
    • 63 Roger Moore
    There's too much cheese, but there are still enough amusing action beats and funny one-liners to let one say, 30 Minutes or Less delivers, more or less on time.
    • 54 Metascore
    • 63 Roger Moore
    The design is brighter and sharper, the jokes are broader and the villainy utterly generic in this by-the-(comic)-book adaptation.
    • 76 Metascore
    • 63 Roger Moore
    A fascinating documentary experiment in fathoming the heretofor “unfathomable” genius of Johannes Vermeer.
    • 42 Metascore
    • 63 Roger Moore
    It's a solid, old-fashioned action yarn filled with the very latest dive gear and the oldest plot formula in the movie-maker's playbook.
    • 60 Metascore
    • 63 Roger Moore
    Life of Crime is lesser-Leonard, an all-star kidnapping comedy that manages to “Be Cool” even if the filmmaker never quite finds the grim faced grins that the best Elmore noirs boast.
    • 31 Metascore
    • 63 Roger Moore
    The bad guys really stand out, with Mikkelsen pulling off something he never managed as a Bond villain. He’s genuinely frightening.
    • 89 Metascore
    • 63 Roger Moore
    If you see it and wonder what the fuss was about, look no further than its star, the face that ate up another awards season.
    • 54 Metascore
    • 63 Roger Moore
    Robert Stone directed the wonderful environmental movement history documentary “Earth Days,” and that earns him the benefit of the doubt for his latest, Pandora’s Promise. He needs that benefit, because what he sets out to do in 87 minutes is upend 50 years of green movement anti-nuclear power dogma.
    • 61 Metascore
    • 63 Roger Moore
    Try as she might, Collyer cannot help but judge these people, a not-quite-fatal flaw in a movie about the down and out.
    • 71 Metascore
    • 63 Roger Moore
    A dry and moody piece built on closely-observed characters, not on thrills or an unraveling plot.
    • 65 Metascore
    • 63 Roger Moore
    Collette always delivers fair value. Her Ellie is hard-drinking, high-mileage, slimmed down and flirting with Cougar-hood, a woman living in the trap of her world, her work and the love she lost.
    • 36 Metascore
    • 63 Roger Moore
    Writer-director Ted Koland can be a little obvious. It’s not a deep movie. But everybody, especially Ramsey, is dealing with something. And Timlin (TV’s “Zero Hour”) gives heart to this wonderful, nuanced character.
    • 66 Metascore
    • 63 Roger Moore
    Never works up a romantic head of steam, never captures the frisson and ferment of a tumultuous age. And, thanks to the flat depiction of Schiller, Beloved Sisters never overcomes the feeling that it’s a lecture, with a little rough and ready German sex tossed in, here and there, to wake up the class.
    • 48 Metascore
    • 63 Roger Moore
    Tommy Lee Jones gives us a saltier version of MacArthur than the image-conscious general ever let on to.
    • 49 Metascore
    • 63 Roger Moore
    A comedy that barely flirts with funny and a grim weeper that never quite raises a tear, Cake has one thing going for it — Jennifer Aniston.
    • 73 Metascore
    • 63 Roger Moore
    Rust and Bone doesn't earn the ending it delivers.
    • 34 Metascore
    • 63 Roger Moore
    The bottom-line on this bottom-baring/bottom-branding farce is “Is it funny, on top of all the shocks?” And yes, it is. On a number of few occasions, all of them involving Jeff Chang.
    • 64 Metascore
    • 63 Roger Moore
    Del Toro’s robots have weight and mass, and their epic, Hong Kong-smashing fights with the four and six-legged, clawed and horned monsters are visually coherent, unlike the messy blur of the “Transformers” movies. There’s a light, humorous feel to “Pacific Rim” because the science is silly and logic takes a flying leap.
    • 39 Metascore
    • 63 Roger Moore
    As uneven as it is, Life as We Know It still goes down like comic comfort food, especially for anybody who's ever dealt with parenthood.
    • 40 Metascore
    • 63 Roger Moore
    A transgressive blend of stoner comedy, horny teenager movie and "Blair Witch" reality riff, this no-budget romp through teen New Orleans crosses the line and erases that line in a hell-bent pursuit of hell-bound laughs. And yeah, it's often funny as all get out.
    • 55 Metascore
    • 63 Roger Moore
    Damon the Oscar-winning writer does something nobody else in Hollywood would – write a dumb character for Matt Damon to play.
    • 56 Metascore
    • 63 Roger Moore
    Entirely too literal, but it still manages to be a literally hair-raising piece of modern-style old school Gothic horror.
    • 52 Metascore
    • 63 Roger Moore
    The venerable acting firm of Smith-Kline & Scott Thomas make certain that this Paris trip is anything but a waste.
    • 66 Metascore
    • 63 Roger Moore
    Maybe Jimi: All is By My Side is as good a Jimi Hendrix bio-pic as we’ll ever get, at least so long as there are legal entanglements strangling the late guitar god’s legacy.
    • tbd Metascore
    • 63 Roger Moore
    The performances are pretty sharp... But the situations feel contrived, the romantic pairings a bit arbitrary. Strip away the narration, and this would be more cinematic. Take away the setting and this is fairly routine stuff.
    • 60 Metascore
    • 63 Roger Moore
    The unfailing sweetness of Paul Rudd's lead performance makes what could have been another raunchy and rude R-rated farce a bracing change of pace in a summer of aggressive comedies about aggressive people, from "Bad Teachers" to "Horrible Bosses."
    • 57 Metascore
    • 63 Roger Moore
    The Notebook makes for a grim but utterly fascinating parable.
    • 57 Metascore
    • 63 Roger Moore
    The film stumbles into a cross-country odyssey that dominates its last third. That is fascinating, but not properly set up, much like the film itself. How I Live Now skips over the “How,” loses itself in the “I” and never lets the pathos of “Live Now” pay off.
    • 39 Metascore
    • 63 Roger Moore
    For all the impressive (but not dazzling) effects, the scattered jokes and stentorian acting (especially from the Olympians), there’s not much here that will stick with you after the popcorn’s gone. But as any ancient Greek could tell you, that’s sort of the point.
    • 41 Metascore
    • 63 Roger Moore
    A perfectly pleasant but fluffy, inconsequential romantic comedy.
    • 65 Metascore
    • 50 Roger Moore
    It's still a short-enough time-killer of a thriller -- not the worst of the summer, but a long way from the current state of the art.
    • 37 Metascore
    • 50 Roger Moore
    It's a film of noble sacrifice and "good deaths" but surprisingly few chuckles.
    • 39 Metascore
    • 50 Roger Moore
    Catch Hell has physical torture and sexually explicit mind games. It has a star who seems resigned to his fate and willing to give up and savage bumpkins straight out of “Deliverance” ready to take out their hatred of Hollywood and Hollywood values on him. That description gives this simple, ferociously feral thriller more depth than it deserves.
    • tbd Metascore
    • 50 Roger Moore
    "A Year” won’t tell aficionadoes anything new, and even novices may grate at its superficiality, a brief whiff of bouquet when more of a sip or two was called for.
    • 70 Metascore
    • 50 Roger Moore
    This undramatic and flat peek “inside” the sewing rooms of Christian Dior holds little in the way of entertainment.
    • 37 Metascore
    • 50 Roger Moore
    Yet another “Blade Runner” knock-off, a sci-fi dystopia about robots getting too smart for humanity’s own good on an already sun-cooked Earth.
    • 58 Metascore
    • 50 Roger Moore
    As February comic book movies go, this works well enough to make you glad they didn’t cook up another “Ghost Rider.”
    • 32 Metascore
    • 50 Roger Moore
    With this “Girl” and her bicycle, the cute bits, rare laugh out loud moments, occasionally zippy lines and limply obvious farcical predicaments are never more than instantly forgettable.
    • 51 Metascore
    • 50 Roger Moore
    Sure, it’s good-looking, cautionary and clever enough. But there’s not much in this “Game” that you’d call thrilling or fun.
    • 56 Metascore
    • 50 Roger Moore
    You’re Not You fails to bring us the fear or the tears that this story warrants. It sticks in the mind no longer than it takes you to change shirts after that ice bucket dunking.
    • 61 Metascore
    • 50 Roger Moore
    At two hours and 15 minutes, the new Karate Kid takes an absurd amount of time to get to that “big match.”
    • 70 Metascore
    • 50 Roger Moore
    It's as disquieting as it is unsatisfying, a slog through gender issues, surgery and violence - sexual and otherwise.
    • 38 Metascore
    • 50 Roger Moore
    Only Hopkins, readily referencing his bag of tricks, seems to get what to make of this "inspired by trues events (and a book by Matt Baglio)" hooey.
    • 55 Metascore
    • 50 Roger Moore
    The ending of the movie is a real grabber, the sort of thing that lifts and improves a tediously long and otherwise mediocre film and tricks you into thinking it was better than it really was as you leave the theater.
    • 29 Metascore
    • 50 Roger Moore
    A slick, upbeat Church of Latter Day Saints-backed documentary that aims to answer the image of the church and its members “shaped by the media and popular culture.”
    • 50 Metascore
    • 50 Roger Moore
    A clever and adorable original film remade with most of the charm wrung out of it.
    • 43 Metascore
    • 50 Roger Moore
    Fletcher and his players never quite hit on a tone that works. Fantastical dream sequences and side trips to the store to get “more bullets” never quite rise to the level of wry commentary. This just isn’t as cute and funny as Fletcher seems to think it is.
    • 69 Metascore
    • 50 Roger Moore
    Sweet, cute to the point of cutesy.
    • 37 Metascore
    • 50 Roger Moore
    The movie's central gimmick isn't enough, and when more supernatural twists that don't play by the movie's own fantasy rules kick in, it lost me.
    • 52 Metascore
    • 50 Roger Moore
    For all its filmmaking care and care-worn performances, is nothing more than a beach book, inconsequential and utterly out of place in January.
    • 56 Metascore
    • 50 Roger Moore
    Jackman gamely does his best, Levy keeps the kid just shy of insufferable and just this side of kid-appropriate in his behavior and language.
    • 40 Metascore
    • 50 Roger Moore
    The cloying narration and the inclusion of Fonda are just warnings for that moment, 70 minutes in, when this comic chemical train goes completely off the rails. Rockwell, Wilde, Monaghan are worth the price of admission, but “Better Living” would have been better off with more chemistry and less cutesy.
    • 59 Metascore
    • 50 Roger Moore
    Unbroken stumbles into most every movie of the genre in ways that suggest she (Jolie) hasn’t figured out how these things work. Suspense and pathos evade her as she turns an admittedly unwieldy biography into a dull, perfunctory and truncated film.
    • 54 Metascore
    • 50 Roger Moore
    Writer-director Michael Johnson covers a lot of familiarly morbid teen ground in All the Wilderness, a film with touches of “Ordinary People” and a hint of “Harold & Maude.” But touches and a hint aren’t enough to lift this morose movie into anything any of us need to see or hear to deepen our understanding of teen depression, grief and love.
    • 48 Metascore
    • 50 Roger Moore
    Planes: Fire & Rescue is roughly twice as good as its predecessor, Planes, which was so story-and-laugh starved it would have given “direct-to-video” a bad name. Yes, there was nowhere to go but up.
    • 48 Metascore
    • 50 Roger Moore
    Divergent, the latest outcast-teen-battles-The-System thriller, is similar enough to “The Hunger Games” that hardcore Katniss fans may dismiss it. But it’s a more streamlined film, with a love story with genuine heat and deaths with genuine pathos.
    • 22 Metascore
    • 50 Roger Moore
    Barefoot is “Rainman” meets “Benny & Joon.”
    • 37 Metascore
    • 50 Roger Moore
    Gore Verbinski’s film is an overlong array of noisy, digitally-assisted chases, shootouts, crashes and explosions with the occasional flash of homage to the “real” Lone Ranger that suggests a better movie than the pricey, jumbled compromise Verbinski delivered.
    • 55 Metascore
    • 50 Roger Moore
    After "Zombieland," The Crazies struggles to find novelty and laughs, and must battle the overwhelming sense that we’ve been here, seen this too often and too recently to experience any real surprises.
    • 35 Metascore
    • 50 Roger Moore
    Unlike say, “Doogal” or “Hoodwinked 2,” at least you won’t want to gouge your eyes out after this one.
    • 42 Metascore
    • 50 Roger Moore
    It’s a epic tragedy, and summing it up in under two hours does nobody justice.
    • 33 Metascore
    • 50 Roger Moore
    It’s not a great film, with some edge Sparks put in the novel left out of the script. But there’s real chemistry between the young lovers and an old fashioned virtue to the father-daughter, father-daughter’s boyfriend scenes.
    • 20 Metascore
    • 50 Roger Moore
    The script is a mad, muddled blitz of one-liners and movie references. Some of the animation is a hoot, and a few voice actors stand out.
    • 56 Metascore
    • 50 Roger Moore
    It's so sentimental and sweet that you can almost forgive the kids' comedy Ramona and Beezus for not being nearly funny enough.
    • 55 Metascore
    • 50 Roger Moore
    If every generation gets the Superman it deserves, Man of Steel suggests we’ve earned one utterly without wit or charm.
    • 47 Metascore
    • 50 Roger Moore
    A musical vamp on young LA's decade-long Pussycat Dolls fascination with tarting up like strippers and shaking those money makers, it's somewhat less than the sum of its parts. But those parts. Oh my.
    • 42 Metascore
    • 50 Roger Moore
    The fights are well-staged, the chases dull. But as Insurgent wraps up, it picks up speed and depth, and gives you hope that maybe this series won’t wrap up as the copy-and-paste “Hunger Games” it has felt like, from the moment the books were word-processed onto the best seller lists.
    • 31 Metascore
    • 50 Roger Moore
    It's meant to be faintly Pythonesque with a hint of bowdlerized "The Black Adder"...But it's entirely too slow of foot for that comparison to pay off.
    • 58 Metascore
    • 50 Roger Moore
    Forever After still goes down like warmed-over porridge. You don’t have to be Goldilocks to think that this time they’ve cooked their Golden Goose.
    • 45 Metascore
    • 50 Roger Moore
    Repetitious, tedious, and pretty much joyless.
    • 75 Metascore
    • 50 Roger Moore
    Deep thoughts about re-directing cynically manipulated celebrity, lump in the throat moments at people rising up against their oppressors, a couple of memorable deaths and attempts at sacrifice play as flat when there’s nothing around them to serve as contrast.
    • 57 Metascore
    • 50 Roger Moore
    A barely serviceable romantic comedy.
    • 67 Metascore
    • 50 Roger Moore
    This unblinking yet unsatisfying ensemble drama features kinky sex, ruthless opportunism, violence and psychosis. Very Cronenberg.
    • 53 Metascore
    • 50 Roger Moore
    So yes, even if you know how this story goes, there are moments that work wickedly well in between the needlessly drawn out ones, by which I mean the entire, predictable third act.
    • 54 Metascore
    • 50 Roger Moore
    As Jackass japes go, though, Bad Grandpa was better in concept and in its short, punchy TV commercials than it is as a feature.
    • 39 Metascore
    • 50 Roger Moore
    The cast doesn’t have the sassy swagger of the “Fast & Furious” crew. Paul, surrounded by co-stars of the same modest height, isn’t particularly charismatic in this setting. He’s not a natural “quiet tough guy.” But the actors are second bananas here — to the Koenigsegg Ageras, Saleens and Shelby Mustang that feed America’s Need for Speed, on screen and off. And the cars deliver.
    • 50 Metascore
    • 50 Roger Moore
    Disney's Prom is to real high school what "High School Musical" was to "West Side Story" – all fluff, no edge.
    • 57 Metascore
    • 50 Roger Moore
    Eva
    Eva isn’t surprising enough to break new ground. But the cast, the gorgeous wintry setting and suggestion of a tech future that is closer than we fear make it a most watchable variation on a well-worn sci-fi theme.
    • 47 Metascore
    • 50 Roger Moore
    A soapy period piece that hits all the usual mileposts in filmed versions of such stories.
    • 51 Metascore
    • 50 Roger Moore
    There's an unexpected wistfulness, a bittersweet undercurrent to Going the Distance that could not have been in the script. This romantic comedy co-starring Drew Barrymore and longtime beau Justin Long was finished just as the real life couple was splitting up. For good, this time.
    • 47 Metascore
    • 50 Roger Moore
    Whatever the film’s other failings, it presents an incredible story with a credulous, approachable innocence that it to be envied, whether or not you believe a word of it.
    • 67 Metascore
    • 50 Roger Moore
    The pre-teen girls this is intended for have a right to expect more laughs, broader villainy and more fun. This time out, the glass slipper doesn’t fit.
    • 37 Metascore
    • 50 Roger Moore
    Hollywood will be hard pressed to top this lean Canadian indie picture that knows it’s just another dumb werewolf movie, but has fun with that knowledge.
    • 37 Metascore
    • 50 Roger Moore
    A mild-mannered kids' comedy that makes for a pleasant-enough time killer.
    • 42 Metascore
    • 50 Roger Moore
    The younger sister of the formidable Vera Farmiga gives flat, rushed and unconvincing line readings, especially in her paragraph-long, exposition-packed monologues. Is that by design? Is this a clever teen “acting” to manipulate her memory detective? The actress should be better at masking that, if that’s the case. And if it isn’t, she should be just…better.
    • 22 Metascore
    • 50 Roger Moore
    Obvious and jaw-droppingly bloody, it still gives Heigl her funniest role in years.
    • 56 Metascore
    • 50 Roger Moore
    Colangelo’s film gives us a world that feels lived-in, with non-actors mixed in with the professionals, and convincingly so.
    • 44 Metascore
    • 50 Roger Moore
    A historically interesting story is painted in broad, colorless strokes, alternating as it does between soap opera and slapstick.
    • 30 Metascore
    • 50 Roger Moore
    Tedious as all this vampire exposition is (and there’s a LOT), the jokey tone here is much appreciated, with everyone “a few corpuscles shy of an artery” and the action as predictable as “a porcupine in a hot tub.”
    • 46 Metascore
    • 50 Roger Moore
    Too cute, too star-studded and entirely too long.
    • 59 Metascore
    • 50 Roger Moore
    Truth be told, J. Edgar drags, even when it pays homage to the widely discredited urban legend that the guy liked to dress in drag.
    • 46 Metascore
    • 50 Roger Moore
    An unsatisfying if often surprising experience, a less warm and fuzzy "Parenthood."
    • 64 Metascore
    • 50 Roger Moore
    The laughs - Doug tries to take up the pipe, a la Sherlock Holmes - are on the flat side.
    • 45 Metascore
    • 50 Roger Moore
    Extraordinary Measures isn’t extraordinary. It’s simply safe.
    • 54 Metascore
    • 50 Roger Moore
    Costner and Garner are good and Langella properly menacing, but Leary has lost his fastball and seems to be holding something back in his quarrel scenes with Costner. Costner has to carry the film, which he does.
    • 43 Metascore
    • 50 Roger Moore
    Kilmer makes a worthy, if somewhat underscripted villain. And some of the bits -- MacGruber idiotically setting traps that the bad guys never fall for -- tickle. But this still feels instantly dated, a "Hot Rod in a Role Models" era.
    • 46 Metascore
    • 50 Roger Moore
    "A Dame to Kill For” isn’t the shock to the system “Sin City” was. But whatever its plot repetition and warmed-over tough talk cost it, this is still a movie like few others you’ve ever seen, a 3D slice of Nihilistic noir that will have you narrating your own guts and guns story on the drive home, chewing on a toothpick as you do.
    • 42 Metascore
    • 50 Roger Moore
    Basically a bloody buddy picture that tries too hard.
    • 55 Metascore
    • 50 Roger Moore
    “Eleven” turns out to be an overreach, with too many voices to be anything but superficial, too few (she skipped sub-Saharan Africa and Latin America) to be thorough.
    • 51 Metascore
    • 50 Roger Moore
    Rare is the thriller that goes as completely and utterly wrong as The Call does at almost precisely the one hour mark. Which is a crying shame, because for an hour, this is a riveting, by the book kidnapping.
    • 41 Metascore
    • 50 Roger Moore
    That makes Kick Ass 2 more sour than sweet, a movie that jokes about comic book fanboys but stops short of mocking them the way the first film did.
    • 41 Metascore
    • 50 Roger Moore
    It’s a live-action version of on an ’80s cartoon that was designed to sell toys. This is “Transformers” without the Bumblebee Camaro, a lot of action, a few one-liners, and a lot of gunplay.
    • 33 Metascore
    • 50 Roger Moore
    An old school ghost story, with a supernatural cause-and-effect story and modest and modestly effective effects — watery footsteps, creaking stairs, shadows glimpsed through a window.
    • 61 Metascore
    • 50 Roger Moore
    Jake Gyllenhaal does tour de force double duty in the intimate thriller Enemy, a cryptic essay on identity. He is terrific in both guises, but he is trapped in a frustrating puzzle without a solution.
    • 51 Metascore
    • 50 Roger Moore
    All these years after Predator, these decades past the classic film, "Most Dangerous Game," that inspired this genre, it’s good to see the idea of the hunter becoming the hunted still gets the blood racing.
    • 51 Metascore
    • 50 Roger Moore
    Over-the-top, but not far enough over the top to fully pay off. But Ganem makes the title character, and her soapy doppelganger, enough of a hoot to make it worth staying through the credits.
    • 40 Metascore
    • 50 Roger Moore
    Robinson manages some suspense, but the thriller’s ticking clock is a weak one.
    • 44 Metascore
    • 50 Roger Moore
    As impressive as the effects can be, as effective as the blend of TV news helicopter POV shots, security camera footage, cell-phone video and storm chaser images mimicked here turn out, the human stories are given short shrift in this “spend our budget on effects” action picture.
    • 25 Metascore
    • 50 Roger Moore
    Veteran character actor McMurray has the best speeches and most interesting scenes, making his CEO a class warrior and a master of “the illusion” of “The American Dream.” The details are different, but the bottom line is so overly familiar as to make Americons feel, too often, like a movie we’ve seen before and a strident lecture we’re never going to pay attention to until the bottom drops out again.
    • 41 Metascore
    • 50 Roger Moore
    They waste this cast and these characters on a story so conventional, so neatly wrapped up in the finale, that the real mystery is how Gregorini and co-writer Sarah Thorpe didn’t see that.
    • 57 Metascore
    • 50 Roger Moore
    Manages a tear or two, and enough laughs to get by, even if from first scene to last the strain to stop just short of cloying shows.
    • 45 Metascore
    • 50 Roger Moore
    Among the cast, the Oscar winner Cotillard acquits herself the best, bleary-eyed and bitter.
    • 27 Metascore
    • 50 Roger Moore
    Scribbler is just daring and interesting enough that you can see why a fairly accomplished cast — from Cassidy to Dushku, Gershon to Campbell — was drawn to it, even if the execution underwhelms.
    • 37 Metascore
    • 50 Roger Moore
    It’s the sort of movie whose finale leaves you wondering, “Why do they always leave out what happens next?”
    • 51 Metascore
    • 50 Roger Moore
    It probably never had a prayer of being a wide release, with Lawrence and Grant’s co-mingled careers shrinking in ambition and appeal. But there’s charm here, and Grant is engagingly disengaged playing somebody who knows the fickle finger of Hollywood fate no longer points his way.
    • 39 Metascore
    • 50 Roger Moore
    Penn doesn’t work much, and this idea of combining his two careers — as actor, producer and co-writer, and as humanitarian — may have its heart in the right place. But take away the preaching, and this is just Penn’s version of a late-career Mel Gibson movie. He should be better than this.
    • 43 Metascore
    • 50 Roger Moore
    The more correct title would have been “Retribution,” which could work for any number of Statham vehicles over the years. But Redemption is just different enough to make us remember “The Bank Job” or “Killer Elite” or that he’s about to give those fun-but-silly “Fast & Furious” movies a proper villain.
    • 56 Metascore
    • 50 Roger Moore
    It's a solid, engrossing thriller, but a slack one.
    • 53 Metascore
    • 50 Roger Moore
    Precious, protracted and pleasant enough.
    • 34 Metascore
    • 50 Roger Moore
    The payoff isn’t nearly as interesting as the cryptic set-up and disquieting performances and scenes that precede it in The Wait.
    • 55 Metascore
    • 50 Roger Moore
    An odd duck of a thriller. Quiet, talkative, with the occasional explosion of violence, it has ghosts and characters philosophizing, quoting F. Scott Fitzgerald or blurting insensitive non-sequiturs.
    • 37 Metascore
    • 50 Roger Moore
    Lacks surprises.
    • 75 Metascore
    • 50 Roger Moore
    Fitfully amusing or not, the whole demented enterprise of Rango comes into question when you're that tone-deaf about what's appropriate for children.
    • 40 Metascore
    • 50 Roger Moore
    Your enjoyment of Horrible Bosses 2 is almost wholly dependent on your tolerance for clusters of funny actors, babbling, riffing — and in the case of Charlie Day, screeching — all at once.
    • 38 Metascore
    • 50 Roger Moore
    There are a TV season’s worth of soap opera betrayals, melodramatic traumas and blundering efforts to learn from and escape this media miasma.
    • 50 Metascore
    • 50 Roger Moore
    This dark comedy has a lot of promise for about half its length. Then, unfortunately, it settles into the mundane genre picture that it seems doomed to be.
    • 37 Metascore
    • 50 Roger Moore
    There’s nothing surprising about this late ’60s tale, including its connection to the modern ghost stories told in “The Amityville Horror” and “The Conjuring.” But what it lacks in originality it makes up with in hair-raising execution. You will scream like a teenage girl.
    • 45 Metascore
    • 50 Roger Moore
    The Expendables feels, well -- disposable, a movie whose nostalgia isn't enough to make this 50. caliber trip down Memory Lane worth the fake napalm.
    • 61 Metascore
    • 50 Roger Moore
    But as useful as it is to chew on ideas that don't hew to climate change dogma, Cool It leaves big questions about Lomborg unanswered.
    • 50 Metascore
    • 50 Roger Moore
    Blame it on the weak chemistry of the stars, blame it on the way the script refuses to let them develop chemistry and the perfunctory way the story is dispensed with, but the sparks aren’t there.
    • 36 Metascore
    • 50 Roger Moore
    Sex Tape is not quite the train wreck its TV ads make it out to be.
    • 41 Metascore
    • 50 Roger Moore
    Robert Rodriguez is like that friend who loves to tell jokes, but always goes on and on, well past the punch line. Remember how he beat the living daylights out of his “Spy Kids” franchise? That’s what he’s working toward with Machete.
    • 51 Metascore
    • 50 Roger Moore
    It’s a labored film thanks to trite dialogue, to interesting characters like a “good Austrian” journalist (Daniel Bruhl) who wants his country held accountable who are given short shrift, and to the many court scenes have a hint of humor, but no spark.
    • 33 Metascore
    • 50 Roger Moore
    The "Made of Honor" screenwriters don't deliver enough jokes or feisty exchanges between the ill-matched traveling companions.
    • 47 Metascore
    • 50 Roger Moore
    Bad Teacher is a pulled punch, a pot-smoking/kid cussing/teacher copulating farce that is less than the sum of its parts.
    • 35 Metascore
    • 50 Roger Moore
    Antonio Banderas pretty much steals The Expendables 3. But at this stage in that winded franchise, that amounts to petty theft.
    • 49 Metascore
    • 50 Roger Moore
    It’s disappointing that Spurlock didn’t have the access, the footage or the spine to depict any of the cynicism behind such creations.
    • 29 Metascore
    • 50 Roger Moore
    Here’s the sort of scruffy action comedy that suits the post-box office-draw careers of one-time hipster John Cusack and fading action star Thomas Jane. It covers the costs of a fun few weeks of working vacation in Australia and provides a few on-screen laughs along the way.
    • 41 Metascore
    • 50 Roger Moore
    So as much as every generation deserves it’s own Romeo & Juliet, this latest one does nothing to make anyone older than Hailee Steinfeld forget the heat of Baz Lurhmann’s far sexier, noisier and passionate modern dress version of 1996, where Claire Danes and Leo DiCaprio completely convinced us that they knew how to “play Satan’s game.” And how.
    • 63 Metascore
    • 50 Roger Moore
    As colorful as it and its people are, Cooper lets the brawling and the bigger-than-big performances get the better of him, and his story. Out of the Furnace feels undercooked, as a result.
    • 53 Metascore
    • 50 Roger Moore
    DePalma flirts with the lurid and tosses in some interesting third act surprises, but never finds his way back to the sexually charged tone and shocks of his earlier thrillers.
    • 32 Metascore
    • 50 Roger Moore
    Age of Extinction runs on and on, popcorn piffle without end.
    • 37 Metascore
    • 50 Roger Moore
    The script piles the preposterous on top of the absurd and the film's thin charms dissipate, revealing the creaking movie star contraption underneath.
    • 24 Metascore
    • 50 Roger Moore
    It all sort of comes apart in an orgy of clumsy over-explanation that doesn’t truly explain anything. But the quintet is well-cast.
    • 44 Metascore
    • 50 Roger Moore
    After Walking with the Enemy, two hours and four minutes of torture, rape and mass shootings, you’ll feel you’ve been tested, too.
    • 45 Metascore
    • 50 Roger Moore
    The performers are given stock types to play, and Elba and Dillon, at least, can do a little with that.
    • 64 Metascore
    • 50 Roger Moore
    While we may ogle Tamara, blush at her charms and revel in her world, in the end Tarama Drewe is just a bit of Brit tease that doesn't come off.
    • tbd Metascore
    • 50 Roger Moore
    This is a good cast, but it’s all played at a rather shrill pitch that must work better on the stage. The intimacy of the screen makes it all uncomfortably in our face.
    • 68 Metascore
    • 50 Roger Moore
    Director Sebastian Cordero — he did the John Leguizamo journalism thriller “Chronicles” — serves up chilling and all-too-real ways to die in space and maintains tension even if suspense is in short supply in a tale told in flashback.
    • tbd Metascore
    • 50 Roger Moore
    It’s too bad the muted Home Run didn’t take its own advice about being daring and inventive.
    • 55 Metascore
    • 50 Roger Moore
    The culinary culture clash comedy The Hundred-Foot Journey dawdles, like a meal that drags on and on because the waiter is too busy texting to bother bringing you the check.
    • 31 Metascore
    • 50 Roger Moore
    The action beats are bigger and better than they’ve ever been in a Ninja Turtle film — brawls, shootouts, a snowy car-and-truck chase with big explosions and what not. But in between those scenes is an awful lot of chatter and exposition. For a film that aims younger (save for the die-hards who grew up with this franchise), that’s deadly dull.
    • 39 Metascore
    • 50 Roger Moore
    The quest, which takes our heroes to the Sea of Monsters, aka The Bermuda Triangle, is generic in the extreme. The fights/escapes all lack any sense of urgency and peril.
    • 36 Metascore
    • 50 Roger Moore
    Bloody, brutal and melodramatic.
    • 64 Metascore
    • 50 Roger Moore
    Once you get past the cliched Spanglish dialogue and the sentimental tone of the early acts, A Better Life settles down into something both involving and moving.
    • 62 Metascore
    • 50 Roger Moore
    In a tale this timeworn and a film this devoid of humor, with only a few moments of humanity, with tension frittered away by the tedious repetition of the fights, anybody who has ever seen Godzilla in any incarnation can be forgiven for asking the obvious. “What else have you got?”
    • 35 Metascore
    • 50 Roger Moore
    It’s perfectly passable holiday entertainment for people who dated during the “Rocky” and “Raging Bull” era. Just don’t expect this Grudge Match to be much of a challenge.
    • 39 Metascore
    • 50 Roger Moore
    Aftershock then becomes a catalog of most every unpleasant way of dying you can imagine.
    • 39 Metascore
    • 50 Roger Moore
    The trouble with The Change-Up is that it doesn't change-up enough of the formula to render this new.
    • 34 Metascore
    • 50 Roger Moore
    Hallestrom and his screenwriters may be stuck with Sparks’ formula, but they take advantage of the geography, the leads and a couple of homespun supporting players – Robin Mullens is a wonderfully folksy owner of the seaside seafood shack.
    • 22 Metascore
    • 50 Roger Moore
    Convincing shaky cam or not, in the end all we’re left with is what we started with, just another bigfoot movie.
    • 36 Metascore
    • 50 Roger Moore
    Take away much of the myth, most of the sorcery and all of the humor of the 1982 John Milius-Arnold Schwarzenegger version of the sword and sorcery epic "Conan the Barbarian" and you've got an idea what the new "Conan" is like.
    • 77 Metascore
    • 50 Roger Moore
    Think of Marty as an R-rated Napoleon Dynamite — foul-mouthed, irritating, irritable, self-absorbed and clueless. He’s also a bit dangerous, the personification of the bird that gives his filmed story its title — Buzzard.
    • 33 Metascore
    • 50 Roger Moore
    Brolin is so damned good in the saddle, in the hat and in the part that a half-sober viewer could half forget how half-arsed this movie he's starring in is.
    • 33 Metascore
    • 50 Roger Moore
    If you love exposition and shapely if bland young actors in leather, skinny jeans, knee boots, Goth cocktail dresses and heavy eye makeup, this may be the movie for you.
    • 53 Metascore
    • 50 Roger Moore
    Whatever its virtues, Eli is a movie that can’t help but suffer in comparison to the much-delayed and much better "Road."
    • 47 Metascore
    • 50 Roger Moore
    For what it is and for whom it is intended, it’s not a bad movie, just an indifferent one.
    • 41 Metascore
    • 50 Roger Moore
    When the Game Stands Tall is a solid if unsurprising and uninspiring melodrama.
    • 50 Metascore
    • 50 Roger Moore
    It has humor and a touch of charm, but plainly needed more love, more passion, more Shakespeare.
    • 35 Metascore
    • 50 Roger Moore
    While the filmmakers might have shot for "Midnight Run," but settled for "Due Date," they wound up only achieving "Guilt Trip." Identity Thief is sputtering long before that mid-movie moment when it turns all sentimental and goes off the rails.
    • 56 Metascore
    • 50 Roger Moore
    Dawdling along as it does, Million Dollar Arm rarely shows us the “juice,” a baseball comedy that is as tentative as a base on balls.
    • tbd Metascore
    • 50 Roger Moore
    It all adds up to perfectly banal kids’ entertainment, with just a single decent plot twist, a few cute lines and a tried and a couple of trite and true messages — “Trust yourself” and “stop polluting” stand out.
    • 41 Metascore
    • 50 Roger Moore
    The central premise is a half-hearted retread. And the gags come from a score of earlier films and sitcoms.
    • 59 Metascore
    • 50 Roger Moore
    This culture-clash/mother bonding story was never going to be “Frozen River,” but you do sense that a lot of potential was squandered in denying these mothers big moments of mourning, bigger confrontations with the fathers of their sons.
    • 34 Metascore
    • 50 Roger Moore
    O’Loughlin is the very definition of comic dead weight. Imagine making Greg Kinnear carry half of "Baby Mama," or sending Tina Fey out with Matthew Fox on "Date Night" and you’ll get the picture.
    • 68 Metascore
    • 50 Roger Moore
    Unwieldy, overlong and overly reliant on melodramatic coincidences, A Place in the Pines is still better than it has any right to be, thanks to its cast.
    • 50 Metascore
    • 50 Roger Moore
    For all its showmanship, Now You See Me has a lot less up its sleeve than it lets on.
    • 28 Metascore
    • 50 Roger Moore
    It’s a sentimental, sometimes moving affair... It is also at times a reminder of how hard it is to manage a decent Civil War movie on a limited budget, and how hard it is, even today, to tell a Civil War tale untainted by revisionism.
    • 36 Metascore
    • 50 Roger Moore
    It’s over familiar, a movie that plays like recycled, R-rated outtakes from “Rules of Engagement” or “How I Met Your Mother.”
    • 51 Metascore
    • 50 Roger Moore
    Director John Madden and his crew make India the most alluring, scrubbing any hint of squalor from Jaipur, and filming in the cooler months. Nobody sweats. That means that this time, this “Exotic” hotel is more a place to check into briefly, in passing, and not the sort of place you’d want to lose yourself in.
    • 44 Metascore
    • 50 Roger Moore
    Devil is the sort of story Rod Serling would have taken for a spin in "The Twilight Zone," back in the day. Shyamalan came up with the idea, produced it and got others to script and direct this 76 minute exercise in movie minimalism.
    • 35 Metascore
    • 50 Roger Moore
    The players are good, with Mirchoff earnest and young as a nice contrast to the salty, rough-and-tumble elders, especially the iconic screen heavy, Perlman. It’s just that when the last card is dealt on this Poker Night, Francis isn’t content to let the best hand win.
    • 71 Metascore
    • 50 Roger Moore
    “The Raid” was a great action film in which the violence, excessive though it was, served as obstacles in the hero’s simple quest. In Raid 2 the violence is the movie, its excess used to cover for an inept story, thinly-drawn characters and dead spots.
    • 49 Metascore
    • 50 Roger Moore
    If this sequel proves anything, it’s that more is not always better.
    • 38 Metascore
    • 50 Roger Moore
    She (Parker) looks exhausted, first scene to last, and that fatigue spills off the screen onto us.
    • 48 Metascore
    • 50 Roger Moore
    This episodic romance works in fits and starts, and captures a bittersweet faux British turn by Anne Hathaway, plainly mismatched in being paired with real-life Brit Jim Sturgess.
    • 41 Metascore
    • 50 Roger Moore
    A mad, laugh-out-loud mashup of “The Little Mermaid,” “Harry Potter,” assorted vampire tales, “Pan’s Labyrinth,” the disaster epic “2012” and oh – “Pokemon” – just to impose the cinematic precedents on display here, Sorcerer is a Chinese twist on the reliable sword and sorcery genre which caused Hollywood to impose “Clash of the Titans” and “Immortals” on the undeserving.
    • 56 Metascore
    • 50 Roger Moore
    Bouchareb gets fine performances from several wonderful, under-utilized actors, including Ellen Burstyn and Tim Guinee in smaller roles. But his morality play is too muted to work, too muzzled to have any bite.
    • 52 Metascore
    • 50 Roger Moore
    3D or not, the film about the mop-topped Canadian - who turns 17 March 1 - doesn't let us get very close to "the talent."
    • 33 Metascore
    • 50 Roger Moore
    It’s a good looking film, just a tad on the dull and predictable side. But the occasional flash of Hopkins threatens, at several moments, to turn this formulaic true-heist tale into something more psychological, more pathological or at least allegorical. He isn’t really given the chance.
    • 66 Metascore
    • 50 Roger Moore
    An awkward blend of ultra-realistic violence, boundaries-bending satire and low comedy.
    • 66 Metascore
    • 50 Roger Moore
    It begins with such promise, a kinky modernist twist on a classical sci-fi morality tale. That it degenerates into conventional, genre horror is all the more disappointing.
    • 65 Metascore
    • 50 Roger Moore
    The one thing Coherence needs most is that word that gives it its title.
    • 53 Metascore
    • 50 Roger Moore
    A confident, cocky and often comic promenade down the same primrose path.
    • 42 Metascore
    • 50 Roger Moore
    Danish director Henrik Ruben Genz (“Terribly Happy”) can’t hide his cards and rarely even tries to. He’s stuck with a script that has “Promise you won’t kill us,” maybe the silliest line ever uttered to a murderer, but that features some dandy threats, some by the villain who doesn’t drive the Jaguar.
    • 41 Metascore
    • 50 Roger Moore
    For all the bursts of blood, the gunplay and execution-style head-shots that punctuate scores of deaths, it’s hard to see Olympus Has Fallen (Secret Service code) as much more than another movie manifestation of a first-person shooter video game.
    • 25 Metascore
    • 50 Roger Moore
    Abduction puts Lautner in motion and never goes very far wrong as long as he remains in motion.
    • 25 Metascore
    • 50 Roger Moore
    Savannah gets by on touches of grace and spirited performances, especially by Caviezel. After being so serious for so very long, it’s great fun to see him take on a “genuine character” with all the boozing, brawling and shooting that entails.
    • 44 Metascore
    • 50 Roger Moore
    An empty-headed nothing of a caper comedy.
    • 54 Metascore
    • 50 Roger Moore
    Whatever “it” is, that spark that film actresses and actors have that makes them interesting and empathetic and anything else on the screen, Fanning doesn’t have it.
    • 46 Metascore
    • 50 Roger Moore
    There are a few sensitive scenes, but it’s the big blasts of raunchy that deliver its laughs.
    • 33 Metascore
    • 50 Roger Moore
    The folks re-adapting White’s book for Beyond the Reach tamper and tinker with perfection — a little overly convenient cheating here, a contrived finale that goes wrong and then goes more wrong. The film staggers under these blows and never really recovers.
    • 56 Metascore
    • 50 Roger Moore
    Impressive. And violent. Just not a lot of fun.
    • 49 Metascore
    • 50 Roger Moore
    Words and Pictures is the cloying title of a cloying little comedy made by talented people who, not that long ago, deserved better than this, and knew it.
    • 30 Metascore
    • 50 Roger Moore
    The slapstick is very small-kid friendly and even the most adult-friendly jokes are pretty mild stuff.
    • 43 Metascore
    • 50 Roger Moore
    The movie never convinces us that Forster is convinced himself. The director lines up this bad good man in his sights, but he never quite has the nerve quite to pull the trigger.
    • 52 Metascore
    • 50 Roger Moore
    The script here is pretty stale stuff, with an under-developed side story of the cop (Karen Mok) on Donako’s trail and dialogue (in English and Chinese) that is often banal.
    • 42 Metascore
    • 50 Roger Moore
    Besson aims his movie at anyone who’s ever held a grudge at an ill-mannered French waiter or clerk (haughty, and by the way, they’d NEVER condescend to speak to you in English). If that includes you, The Family has serves up a little wish-fulfillment payback, with a baseball bat.
    • 29 Metascore
    • 50 Roger Moore
    Hector might have been better off staying at home and reading a book, which also pretty much applies to the audience, in this case.
    • 52 Metascore
    • 50 Roger Moore
    Whatever romance and charm Gruen summoned forth from these rough and tumble show people living by their own laws in a traveling, self-contained world of poverty and cruelty, director Francis Lawrence has hacked and ground them off.
    • 52 Metascore
    • 50 Roger Moore
    White House Down is a corker, real competition for “Fast & Furious 6″ as the dumbest fun you’ll have at the movies this summer.
    • 48 Metascore
    • 50 Roger Moore
    The magical thing that Hathaway accomplishes here is in getting this film made and this look at the New York music scene out there.
    • 58 Metascore
    • 50 Roger Moore
    Somehow, writer-director Sean Mullin’s short, far-fetched love affair comedy charms and works more often than not.
    • 39 Metascore
    • 50 Roger Moore
    Needed more movie to go with its message.
    • tbd Metascore
    • 50 Roger Moore
    A la Mala begins with promise and finishes well enough to justify the investment in time. It’s all that dull, formulaic stuff mediados película (mid movie) that sucks the salt right off the tequila glass and leaves this one too stale to swallow.
    • 65 Metascore
    • 50 Roger Moore
    It’s an engaging yarn, set in a place, a time and among a people rarely represented on the big screen. But “Ultima” is a poetic novel that becomes prosaic on the screen.
    • 56 Metascore
    • 50 Roger Moore
    Non-Stop is a solid, workmanlike action picture that builds slowly, bends over backwards to over-explain itself and its villain, and delivers a lulu of an ending.
    • 39 Metascore
    • 50 Roger Moore
    Good acting and sharp editing make The Barber a most engrossing serial killer thriller. But too much talk, mostly in a lecturing over-explained finale, almost undoes all of that.
    • 51 Metascore
    • 50 Roger Moore
    It just takes a very long time to get going. Apparently seventh grade doesn't pack as much potential for amusing, scarred-for-life trauma as sixth grade.
    • 54 Metascore
    • 50 Roger Moore
    It’s well-cast, but Tautou and Duris don’t set off the sparks and create the longing that would give this tragic romance some heft. Everybody else takes a back seat to the inspired visuals.
    • 55 Metascore
    • 50 Roger Moore
    Manages to deliver a striking, nicely detailed, visceral thriller built on a corny, old-fashioned script.
    • 38 Metascore
    • 50 Roger Moore
    Seeing these veteran players go through their paces, find their comic rhythms and probe for laughs where many a laugh has been found before is not a bad thing.
    • 72 Metascore
    • 50 Roger Moore
    It's a movie of thematic dead-ends. Director Azazel Jacobs and writer Patrick DeWitt give us a slow SLOW and somewhat morose tale that isn't remotely funny or profound enough to sustain that pace and tone.
    • 50 Metascore
    • 50 Roger Moore
    Take "Kick-Ass." Strip it of most of its wit and charm, amp up the violence, the sadism. Make it more crude and coarse and gory. And what you're left with is Super.
    • 42 Metascore
    • 50 Roger Moore
    The line between “cute” and “cutesy” is violated, repeatedly, in the sometimes funny, often cloying comedy The English Teacher.
    • 71 Metascore
    • 50 Roger Moore
    The players utterly inhabit their banal characters, but Hartigan only delivers a couple of scenes that merit all this attention to detail.
    • 63 Metascore
    • 50 Roger Moore
    Its grisly violence and ridicule-religion tone make it sort of the anti-"Exorcism of Emily Rose."
    • 38 Metascore
    • 50 Roger Moore
    Whatever their other gifts, they cannot find the fizz here and can never get Wiig to commit to the sort of film that she, even when she was making it, must have realized was beneath her in her post-”Bridesmaids” glory.
    • 44 Metascore
    • 50 Roger Moore
    Has a "been there, done that, jailed for it" feel.
    • 29 Metascore
    • 50 Roger Moore
    The singer and tabloid darling Chris Brown more than holds his own with this crew, apparently not even needing a dance double.
    • 27 Metascore
    • 50 Roger Moore
    The story is nonsensical and the action tepid. So if you don’t find the Brit-quips funny, there’s not much for you in Mortdecai, just vintage British motorcars, foppish gibberish and Depp curling and re-curling that mustache, punctuating every line with “Right!” or “Quite!” That makes for a quite watchable mess.
    • 50 Metascore
    • 50 Roger Moore
    It’s a passably chilling bit of nonsense that builds on the past, the tropes of the genre, and relies on them for the odd jolt and the occasional ironic laugh.
    • 35 Metascore
    • 50 Roger Moore
    Everly has just enough novel touches to entice aficionados, but not enough to transcend the carnage and cliches. But Hayek, back in the sort of B movie that launched her career, gives good value and will make you cackle in surprise, if you’re the sort who can giggle at the old ultra-violence as it is served up in heaping helpings here.
    • 36 Metascore
    • 50 Roger Moore
    Film buffs will see Goodbye World as a sort of “Trigger Effect” meets “Return of the Secaucus Seven” — growing up, learning to look at the world through more jaded adult eyes as the world ends.
    • 49 Metascore
    • 50 Roger Moore
    Lee, in a sort of humorless send-up of Tarantino, substitutes kinky for mystery, explicit sex and violence for sex and violence with real shock value. When it comes to this remake, you plainly can’t teach an oldboy like Lee new tricks.
    • 58 Metascore
    • 50 Roger Moore
    Fading Gigolo is John Turturro’s idea of an old school Woody Allen comedy, so he wrote Allen into it.
    • 47 Metascore
    • 50 Roger Moore
    The performances are perfunctory and the scenario standard-issue even if the execution of this no-budget thriller is top drawer.
    • 49 Metascore
    • 50 Roger Moore
    First time feature director Richard Raymond never quite lifts this above generic in tone and message.
    • 58 Metascore
    • 50 Roger Moore
    Smith peoples the film with the same cast, including Kris Kristofferson as Hazel’s grandpa and Tom Nowicki as the aquarium’s benefactor. There just isn’t enough for them all to do. Freeman gets the few funny lines, which are all the same.
    • 34 Metascore
    • 50 Roger Moore
    It’s good to see Depardieu in an English-speaking role again, but he can only carry A Farewell to Fools so far by himself, especially when he never commits to “simple” heart and soul.
    • 50 Metascore
    • 50 Roger Moore
    It barely has a fright in it on its own, this bloody, Mexican-made supernatural thriller set in the hill country near Tijuana. But open it with a hot “Blue is the Warmest Color” sex scene, toss in a few other hot and heavy moments and a generous helping of nudity and you can be sure, at least, of getting a Hollywood studio’s attention.
    • 56 Metascore
    • 50 Roger Moore
    His comedy, whatever it was at an earlier age, is comfort food now.
    • 35 Metascore
    • 50 Roger Moore
    Just stumbles on and on, introducing new theories and facts and then explaining, explaining explaining them, right up to the closing credits.
    • 49 Metascore
    • 50 Roger Moore
    The tempered violence, the nature of the villains, the easy bonhomie of our leads and a cast peppered with great supporting players make Escape Plan go down easier than the other “Rambo/Last Man Standing/Expendables” pictures that brought these two aged action stars back from the dead.
    • 57 Metascore
    • 50 Roger Moore
    Though it is funnier and out-charms “Tio Papi,” it lacks the whimsy, magical realism and kid-friendly sentiment of the sleeper hit, “Instructions Not Included.”
    • 30 Metascore
    • 50 Roger Moore
    As "Hangovers" go, Part III isn't challenging or unpleasant, just instantly forgettable. It won't take much to sleep this one off.
    • 61 Metascore
    • 50 Roger Moore
    Bad movies are rarely as much fun as these “Fast and the Furious” pictures. And make no mistake about it — they’re bad.
    • 30 Metascore
    • 50 Roger Moore
    Greenwood and Richardson make a fine, discordant couple and the young leads have a certain chemistry. If only Feste had realized she’d stripped almost all the conflict out of the story.
    • 31 Metascore
    • 50 Roger Moore
    Winter’s Tale has no narrative drive and too little heart to come off.
    • 63 Metascore
    • 50 Roger Moore
    The new creature feature Monsters is an intriguing mash-up of "District 9," "The Host" and assorted recent post-apocalypse road pictures.
    • 30 Metascore
    • 50 Roger Moore
    James takes his comic lumps like a man. His Griffin suffers injuries and indignities and lets us laugh at him as he does. No matter where the script wanders and where the direction founders, at some point, James' comic instincts take over. And this time, they don't let him down.
    • 64 Metascore
    • 50 Roger Moore
    It’s not a bad film, this first-half of the concluding chapter of “The Hunger Games.” But it is, from first scene to last, just a tedious good-looking set-up for what one might hope would be a more lively, and perhaps better lit and ventilated finale.
    • 74 Metascore
    • 50 Roger Moore
    There’s no drama, no conflict, and apparently no one told director Jody Lee Lipes that even documentaries require some of that to be rendered watchable.
    • 44 Metascore
    • 50 Roger Moore
    Collins (“Mirror Mirror”) and Claflin, of the last “Pirates of the Caribbean” movie, do well by the mooning over each other across a crowded dance floor stuff. But they have to keep us believing in “the dream” and hoping for their romance. They don’t.
    • 31 Metascore
    • 50 Roger Moore
    While it is laudable that Oscar winner Kim Basinger, Mickey Rourke, Vivica A. Fox and Anne Heche lent their support to writer-director Jeta Amata’s film, the help he really needed was from screenwriters. Clunky lines, broadly drawn characters, arch situations, from start to finish, Black November is an uphill battle against the urge to roll your eyes.
    • 42 Metascore
    • 50 Roger Moore
    As exhausted as this series and the genre it comes from is, it still manages a few decent jolts thanks to that new approach and a pretty good cast’s reactions to what they, and we, see through the video camera’s viewfinder.
    • 48 Metascore
    • 50 Roger Moore
    If it’s not convincing as either a find-one’s-faith parable or clever spoof of pop Christianity, at least it’s relevant.
    • 43 Metascore
    • 50 Roger Moore
    It sometimes moves us, where the admittedly more arduous ordeal of Louis “Unbroken” Zamperini failed to move, at least on the big screen.
    • 62 Metascore
    • 50 Roger Moore
    His hair is thinning and his features are thickening, and Jude Law is evolving into a more interesting actor as this happens. He’s more at home in tough guy roles such as “Dom Hemingway.” The gritty submarine thriller Black Sea is his latest one of those. But in this case, it’s a salty performance that seems just beyond his grasp.
    • 61 Metascore
    • 50 Roger Moore
    A well-acted tale of an underdog's triumph that sorely lacks an underdog, it teeters between pleasantly generic film biography and rank manipulation.
    • 63 Metascore
    • 50 Roger Moore
    Green Zone isn't so much a bad movie as a misguided one.
    • 48 Metascore
    • 50 Roger Moore
    The milieu — coastal-industrial Australia — is interesting, with its stoner arms dealers and crazed thugs of every age. But what sells Son of a Gun is McGregor’s presence and performance, a guy using and mentoring a gullible but gutsy young man, trying to impart the wisdom of the wizened con to the kid.
    • 35 Metascore
    • 50 Roger Moore
    Jackie Earle Haley, the fans' choice to take on the role of Freddy Krueger in the remake of the 1984 boogeyman blockbuster A Nightmare on Elm Street proves stunningly, rousingly…adequate…for the job.
    • 40 Metascore
    • 50 Roger Moore
    Mansions is like “Vehicle 19″ or “Takers,” dumb, noisy junk.
    • 44 Metascore
    • 50 Roger Moore
    Shakman cast this well, so well he can afford to waste a good actor like Oliver Platt on a tiny role as a careless, Bluetooth-addicted Fed and Thornton on a couple of simple exposition scenes.
    • 63 Metascore
    • 50 Roger Moore
    Cute, bordering on cutesy, yes. Light and shallow and inconsequential in a lot of ways. But funny? Rarely.
    • 40 Metascore
    • 50 Roger Moore
    Somewhat less than the sum of its many amusing or at least unusual parts. But with Goldman, West and all these classy co-stars, he’s at least kicking butt in better company these days.
    • 36 Metascore
    • 50 Roger Moore
    The sylvan setting and short bursts of dramatic interplay are more interesting than coherent in this brief, undeveloped adaptation.
    • 17 Metascore
    • 50 Roger Moore
    The saving grace of this more-rude-than-funny film are its cast. They’re just a quartet of Simi Valley “Woohooo” girls in the opening, but the players make each member of this motley crew distinct, human and out of her depth. And Janet (Flanagan)? You’ll want to party with her.
    • 59 Metascore
    • 50 Roger Moore
    This Paranormal doesn't tamper with the formula that worked in the first two films. It lacks the "money" moments that those films delivered and ends with a finale that is downright conventional. "Paranormal" reveals itself for what it has become, the "Saw" of found video thrillers.
    • 27 Metascore
    • 50 Roger Moore
    If “the gals” have to bow out, at least they try to do it in a sprint -- in their Manolo Blahniks. It’s a pity nobody told them you can’t run in heels -- in sand dunes.
    • 56 Metascore
    • 50 Roger Moore
    There’s no humor and no pathos. The Cuckoo-Clock Heart, pretty as it is, lacks any heart at all.
    • 40 Metascore
    • 50 Roger Moore
    Charles Dance is the Nosferatu-garbed monster in the cave, a balding, toothy villain in the great tradition of British vampires — Christopher Lee, Gary Oldman, Michael Sheen and Kate Beckinsale among them. The moment he shows up, all shadowy menace and prophecy, “Dracula” gets interesting.
    • 55 Metascore
    • 50 Roger Moore
    The movie hinges on Murray's turn as FDR, and frankly, he comes up wanting.
    • 43 Metascore
    • 50 Roger Moore
    An instant midnight movie, a morbid mishmash of styles and filmmaking formats – 26 films, 26 filmmakers from the four corners of the horror globe, all making short films about death. It’s not for everyone.
    • 35 Metascore
    • 50 Roger Moore
    'Twilight' of the Body Snatchers, without much urgency or sexual heat.

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