For 2,305 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 56 Up
Lowest review score: 0 The Room
Score distribution:
2305 movie reviews
    • 100 Metascore
    • 100 Roger Moore
    Richard Linklater’s Boyhood is an amazing achievement in telling an unremarkably remarkable life story.
    • 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.
    • 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.
    • 96 Metascore
    • 100 Roger Moore
    McQueen and his stellar cast take us on a difficult journey, an odyssey that will make you want to avert your eyes. It is to their great credit that we don’t.
    • 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.”
    • 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.
    • 95 Metascore
    • 75 Roger Moore
    Haynes never lifts Carol above over-dressed melodrama. And with every perfect bar where every perfect martini is served, every perfect dive of a motel on the “Lolita” roadtrip that the “just friends” abruptly take together, Carol betrays its true priorities.
    • 95 Metascore
    • 100 Roger Moore
    The performances, direction and writing of one of the best pictures of 2010 make this Social Network every bit as addictive, and a little chilling as well.
    • 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.
    • 95 Metascore
    • 75 Roger Moore
    It’s not the most consequential of films, but from first stop to almost the last, it’s a trippy, traveling delight.
    • 94 Metascore
    • 100 Roger Moore
    Great directors make great movies. And with Dunkirk, Christopher Nolan has made his second masterpiece, thrilling history retold, remembered and relished.
    • 94 Metascore
    • 75 Roger Moore
    And as long as it is, it would be a pity to cut one moment of Spall’s immersive, utterly convincing portrait of this common man with an uncommon gift.
    • 94 Metascore
    • 88 Roger Moore
    It’s a wholly original child’s-eye-view of emotions and growing up, a demanding movie for small children and a rewarding and touching one for their parents.
    • 94 Metascore
    • 88 Roger Moore
    It’s the genius of this genial, formulaic coming-of-age comedy that Lady Bird never seems too broadly drawn. We’ve known this kid, gone to school with her, watched her reinventions continue straight on into college.
    • 93 Metascore
    • 63 Roger Moore
    Hollywood will simplify it to that big concept, and trim writer-director Maren Ade’s flaccid storytelling and many aimless scenes into something tighter, funnier and almost certainly less German.
    • 93 Metascore
    • 100 Roger Moore
    If history’s tide runs against the Globe, at least those who worked there have the satisfaction of exposing a global wrong, and helping to end it. And they have McCarthy’s film, one of the best pictures of 2015, as a permanent record, a tribute in cinematic form, to their art and craft in its finest hour.
    • 93 Metascore
    • 50 Roger Moore
    Call Me by Your Name isn’t so much a bad movie as a dull, bloated one, a tale of teen sexual intensity drawn out beyond the point of holding our interest, footnoted with all these spoken (repeatedly, by one and all) provisos — “This is OK because…” That’s all well and good, but I found it lacking as drama (no parental conflict), romance and period piece, a turgid potboiler overheated under the Tuscan sun.
    • 93 Metascore
    • 63 Roger Moore
    Writer-director Damien Chazelle (“Whiplash”) reaches for the stars, and cast the picture beautifully. But this throwback musical (songs by Justin Hurwitz) lurches along on show business cliches in between dreamy flights of fancy.
    • 93 Metascore
    • 63 Roger Moore
    The movie is so “interior,” it so zeroes in on Isaac and his baleful stare, that we’re relieved any time something overtly funny happens.
    • 92 Metascore
    • 100 Roger Moore
    The Rider is a docudrama as elegy, a slice of rodeo realism that both romanticizes and demythologizes the Cowboy Way in a corner of America where that still means something.
    • 92 Metascore
    • 100 Roger Moore
    Rarely has a movie gone as deep into the magical resiliency and adaptability of childhood.
    • 92 Metascore
    • 75 Roger Moore
    When it’s over, there’s nothing more to take from the film than the uneasy feeling that what we’ve seen is either intolerant and biased, or a warning. It’s not Islamophobic to fear the spread of this primitive oppression, be it in Syria or Nigeria.
    • 92 Metascore
    • 100 Roger Moore
    Longer, more thorough and tweaked to play to modern audiences better, Apocalypse Now Redux packs every bit the wallop it did when it was new. After Gallipoli and Full Metal Jacket, after even Platoon, it remains the definitive anti-war war movie.
    • 92 Metascore
    • 75 Roger Moore
    The politics are rarely overt. “Pussy Riot” stories pop up on TV, and the Orthodox Church’s role in the hierarchy (cozying up to power, serving as a calming “opiate” to the masses) is mocked. Zvyagintsev is a bit too willing, in this overlong film, to let the landscape, the remote setting and the insular world of crumbling apartment blocks, sagging houses, collapsing churches grey skies shape the film’s message.
    • 92 Metascore
    • 88 Roger Moore
    Dazzling, scary and sentimental.
    • 91 Metascore
    • 75 Roger Moore
    It goes on too long, but this is personal essay filmmaking at its best, one that passes that ultimate test of such self-involved projects. It has a story worth telling.
    • 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.
    • 90 Metascore
    • 63 Roger Moore
    It’s a solid film, but the mission creep of its many messages, its format — interviews broken up by vintage news footage, old movies (“The Birth of a Nation”) — and a stylistic choice by DuVernay dull its impact.
    • 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.
    • 90 Metascore
    • 100 Roger Moore
    This unblinking look at America's Red State Crystal Meth Belt is an instant Southern Gothic classic.
    • 90 Metascore
    • 75 Roger Moore
    The Kafkaesque nightmare a woman endures trying to get a divorce in a theocracy is played out, in sometimes comical/often excruciating detail in Gett: The Trail of Viviane Amsalem.
    • 90 Metascore
    • 88 Roger Moore
    Her
    Is it better to have loved and lost than never to have logged on at all?
    • 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.
    • 90 Metascore
    • 75 Roger Moore
    Phantom Thread is a dry, chilly and occasionally droll tale of unconventional love in 1950s British haute couture. But whatever this cryptic, slow and dramatically thin character study lacks, Lewis lovingly paints over with one last meticulously detailed, compact and sharply observed performance.
    • 90 Metascore
    • 88 Roger Moore
    Grim, gruesome and glorious.
    • 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.
    • 90 Metascore
    • 50 Roger Moore
    Anybody familiar with Jarmusch’s work will recognize his static style — the muted long conversations, the quiet, the storytelling largely lacking in incident, melodrama or narrative drive. Longtime fans will wonder where the humor is.
    • 89 Metascore
    • 75 Roger Moore
    Huppert, after a career that has included “Entre Nous,” “8 Women,” and the equally unnerving “The Piano Teacher,” makes this unfiltered fury the capstone of a stunning career in which she journeyed from French sex symbol to grande dame of European cinema without losing even a hint of her allure.
    • 89 Metascore
    • 75 Roger Moore
    An old fashioned Japanese folk tale beautifully rendered in old-fashioned hand-drawn animation.
    • 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.
    • 89 Metascore
    • 63 Roger Moore
    The players and the situation (taken from a Hubert Monteilhet) novel make Phoenix an approachable, less-grueling Holocaust story than most. But the unreality of it all undoes some of that and makes this brief, smart and heartfelt story feel like a pulled-punch.
    • 89 Metascore
    • 75 Roger Moore
    Anyone who has heard tapes of the real King confronting LBJ will realize that the power dynamic depicted here just doesn’t ring true. King’s moral authority asserted itself, but nobody stood up to Johnson to his face. Nobody.
    • 88 Metascore
    • 88 Roger Moore
    The first great movie of the year.
    • 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.
    • 88 Metascore
    • 100 Roger Moore
    The script and Simmons, known for TV’s “The Closer” and as tantrum-tossing editor J. Jonah Jameson in “Spider-Man,” make Fletcher a monster, and then look for ways of explaining him.
    • 88 Metascore
    • 100 Roger Moore
    It’s one of the best pictures of the year.
    • 88 Metascore
    • 88 Roger Moore
    We should all be so lucky as to live in a world designed, peopled and manipulated by Wes Anderson. His latest film, The Grand Budapest Hotel, is a dark, daft and deft triumph of design details.
    • 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.
    • 88 Metascore
    • 100 Roger Moore
    Engrossing and moving story of a alternately warm and combative relationship.
    • 88 Metascore
    • 88 Roger Moore
    A terrific heist picture.
    • 88 Metascore
    • 50 Roger Moore
    Alternately daring and dull, inventively animated, intimate and yet impersonal, it’s challenging enough to turn off most.
    • 88 Metascore
    • 63 Roger Moore
    Whatever its cultural significance, it’s just passable entertainment, a noble attempt at waxing mythical that never, for one second, delivers that out-of-body giddiness that makes popcorn pictures of its ilk burst to life.
    • 88 Metascore
    • 100 Roger Moore
    Serious and silly, self-aware and ironic, it’s the movie that questions stardom, fame and celebrity, built around a role Michael Keaton had to become a has-been to play.
    • 87 Metascore
    • 75 Roger Moore
    Crowley wisely keeps Ronan center stage and often in close-up. She lets us feel the pain of leave-takings, the depression of homesickness in that pre-digital age, the dilemma of first love, and maybe second love, overlapping, the pull of the familiar vs. the hope of the new and different.
    • 87 Metascore
    • 75 Roger Moore
    A scruffy, anarchic picture that gets better as it stumbles along.
    • 87 Metascore
    • 75 Roger Moore
    It’s worth the three hour investment in time only if you keep a notepad to jot down the hidden gems in France’s rich post-war film tradition.
    • 87 Metascore
    • 63 Roger Moore
    The sex is explicit and frequent and pretty much covers the spectrum. The drug use that accompanies it cringe-worthy. No man could have ever gotten away with adapting Phoebe Gloeckner’s novel in such frank terms.
    • 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.
    • 87 Metascore
    • 75 Roger Moore
    Hereditary isn’t original enough to merit “great film” praise. But by bending and extending the tropes of the genre and hiring top drawer talent to buy in, Aster makes us buy in, too, and gives us a pretty disturbing picture to chew on and mull over on the way home.
    • 87 Metascore
    • 63 Roger Moore
    The finale to the Harry Potter saga is, like most of the films in the series, a bit of a slog. But it's a generally satisfying slog.
    • 87 Metascore
    • 63 Roger Moore
    The Shape of Water is first and foremost a genre picture. And as that, it’s a loving homage to cinema from an age where movies couldn’t be as obvious about this forbidden subject or that unspoken sexuality. It’s a good film of its type, just not a great one.
    • 87 Metascore
    • 88 Roger Moore
    Moneyball is a thinking person's baseball movie, and a baseball fan's thinking movie.
    • 87 Metascore
    • 50 Roger Moore
    As a stand-alone film it flirts with utter incoherence.
    • 87 Metascore
    • 75 Roger Moore
    Chilling, cruel and funny — in an icy, Swedish way.
    • 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.
    • 86 Metascore
    • 100 Roger Moore
    And Dern, a great character actor who made his mark opposite everyone from Redford and John Wayne to Jane Fonda, embraces the roll of a lifetime.
    • 86 Metascore
    • 63 Roger Moore
    Manages to pop the hairs on the back of your neck more than most repetitive, predictable and gory Hollywood horror films these days.
    • 86 Metascore
    • 63 Roger Moore
    It’s omissions mean that it’s simply not the last word on the subject.
    • 86 Metascore
    • 50 Roger Moore
    Little Men doesn’t come to grips with much of anything, leaving relationships and questions of sexuality and even Leonor’s uncertain future uncertain.
    • 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.
    • 86 Metascore
    • 88 Roger Moore
    If you're looking for a filmmaker to document, for all of humanity, "one of the greatest discoveries in the history of human culture," the great Werner Herzog is your guy.
    • 86 Metascore
    • 50 Roger Moore
    It’s all pretty enough, but this is lesser Ghibli, more a “Borrowers” than a “Ponyo,” an animated bauble as hollow as a turtle shell purse.
    • 86 Metascore
    • 75 Roger Moore
    Vega makes Marina noble, martyred and yet defiant, fiercely clinging to her femininity when we’re so desperate for her to bust Bruno’s nose. It’s a performance of sublime, constrained fury and tender conciliation.
    • 86 Metascore
    • 75 Roger Moore
    A quietly compelling if not particularly emotional and sober-minded treatment of an infamous incident.
    • 86 Metascore
    • 63 Roger Moore
    The Big Sick makes good use of some vintage Nanjiani 9/11 comebacks, some winning (if not new) backstage backbiting comedy club observations and marvelous, heartfelt work by three great actors who carry their leading man and his overlong, not-a-million-laughs “personal” story across the finish line.
    • 86 Metascore
    • 75 Roger Moore
    “We punched a hole in the darkness,” they declare, and as the film is framed within a ceremony where their efforts are honored by the world’s journalists as the most significant reporting going on right now, you’d have to agree.
    • 86 Metascore
    • 75 Roger Moore
    Baby Driver doesn’t invite over-thinking. But as visceral, swaggering summer popcorn picture fun, it’s hard to beat. Impossible, as a matter of fact. Forget your comic books and sci-fi sequels. THIS is the movie of the summer.
    • 85 Metascore
    • 75 Roger Moore
    The Salesman makes for a gripping drama of a relationship in crisis.
    • 85 Metascore
    • 88 Roger Moore
    Every scene is magical, every image a work of art in Song of the Sea.
    • 85 Metascore
    • 75 Roger Moore
    Amy
    Amy does its greatest service by holding up a mirror to this sad icon who lived her life in imitation of “The Rose.”
    • 85 Metascore
    • 75 Roger Moore
    There's a soap opera going on inside that tin can with a cannon.
    • 85 Metascore
    • 63 Roger Moore
    I Am Another You, now streaming on Amazon, is never judgmental, although Dylan gets a tiny taste of that from one (among many) religious stranger.
    • 85 Metascore
    • 75 Roger Moore
    A feisty, funny, down-and-dirty farce as nasty as a Supreme Court dissent, as timely as a Jenner magazine cover.
    • 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.
    • 85 Metascore
    • 100 Roger Moore
    It’s a powerful, disturbing crisis of faith drama that takes on the raiments of a thriller, and a tour de force for the understated acting of Ethan Hawke.
    • 85 Metascore
    • 100 Roger Moore
    It's a story about storytelling, with differing versions of events in which people die by the sword. Filled with Yimou's characteristic symbolism and zest for striking colors, it's a fictional account of the unification of China.
    • 85 Metascore
    • 63 Roger Moore
    Mudbound is not a great film, not polished enough to earn its “Oscar contender” hype. But it is a worthwhile one. It doesn’t touch us the way the sentimental “Places in the Heart” did, but doesn’t flinch (much) from showing the Bad Old Days at their very worst, which more sentimental films on this subject invariably do.
    • 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.
    • 85 Metascore
    • 75 Roger Moore
    Actor turned writer-director Francis Lee revels in the grimy greys of Yorkshire in early spring, treeless hills covered with stone ruins and stone walls that need repair. The accents are thick, the mud is thicker and the romance could not be less romantic. At first.
    • 85 Metascore
    • 75 Roger Moore
    Like the characters in this inter-connected world, you may feel the need to let go of The Past, only to realize, after the credits, the hold it still has on you.
    • 85 Metascore
    • 38 Roger Moore
    Glibly put, this challenging time-skipping rumination is the big screen equivalent of watching that "Tree" grow.
    • 85 Metascore
    • 50 Roger Moore
    Intentions and inspiration aside, Last Jedi doesn’t add up to an “Empire Strikes Back” for this trilogy. There’s no romance, little pathos and no real punch-in-the-gut moment. Its emotionally sterile tone was set with “The Force Awakens,” and that’s proven hard to shake, new innovations and plot twists aside.
    • 85 Metascore
    • 88 Roger Moore
    Michael B. Jordan (“Red Tails”) is never less than riveting as Oscar, and he has to be.
    • 84 Metascore
    • 75 Roger Moore
    The thriller is mildly thrilling, the intrigues reasonably intriguing. But it’s the sex that sells this.
    • 84 Metascore
    • 88 Roger Moore
    An imaginative, scary and wonderfully rendered stop-motion fright.
    • 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.
    • 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.
    • 84 Metascore
    • 63 Roger Moore
    Its spooky tone and the odd jolt don’t remedy its chilly remoteness or self-conscious longueurs. But it’s good to be reminded that there’s a reason we cling to the afterlife as a concept and flock to films that indulge that belief, the warm and fuzzy versions, anyway.
    • 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.
    • 84 Metascore
    • 88 Roger Moore
    It’s more an instant cult film than a picture with any prayer of reaching millions.

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