For 1,715 reviews, this critic has graded:
  • 51% higher than the average critic
  • 3% same as the average critic
  • 46% lower than the average critic
On average, this critic grades 3.2 points lower than other critics. (0-100 point scale)

Roger Moore's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Whiplash
Lowest review score: 12 Creature
Score distribution:
1715 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
    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.
    • 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.
    • 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.
    • 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
    • 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.
    • 92 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
    • 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
    • 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
    • 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
    • 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.
    • 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.
    • 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.
    • 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
    • 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
    • 88 Roger Moore
    A terrific heist picture.
    • 88 Metascore
    • 100 Roger Moore
    Engrossing and moving story of a alternately warm and combative relationship.
    • 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
    • 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
    • 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
    • 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
    • 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
    • 75 Roger Moore
    A quietly compelling if not particularly emotional and sober-minded treatment of an infamous incident.
    • 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
    • 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
    • 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
    • 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
    • 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
    • 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.
    • 84 Metascore
    • 100 Roger Moore
    Dallas Buyers Club is one of the best pictures of the year.
    • 84 Metascore
    • 88 Roger Moore
    An imaginative, scary and wonderfully rendered stop-motion fright.
    • 84 Metascore
    • 75 Roger Moore
    13 Assassins is entirely too long and too talky. But the cat-and-mouse game of strategy, figuring out when and where to ambush the evil overlord's entourage, is fascinating.
    • 83 Metascore
    • 88 Roger Moore
    This performance reminds us that Bridges is that rare actor who has never had to make that apology. Crazy Heart lets him be every bit as grand as we’d hope him to be.
    • 83 Metascore
    • 50 Roger Moore
    Everybody Wants Some!! is just Linklater showing he can still summon up the immaturity to do a film like the ones he did when he had no name, no polish and was just starting out...This is the sort of movie he’d have made had he never grown as a filmmaker, if he’d only been a one-trick indie cinema pony, like Kevin Smith. And the world has already decided one Kevin Smith is more than enough.
    • 83 Metascore
    • 75 Roger Moore
    '71
    It’s an intricate, intimate thriller about a single soldier’s nightmare day and night on the front lines.
    • 83 Metascore
    • 88 Roger Moore
    This is as thorough a take-down of a business and its practices as you’re likely to ever see.
    • 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.
    • 83 Metascore
    • 88 Roger Moore
    Here's a documentary so slick, novel, touching and outrageous that your first thought might be "This has to be fake."
    • 83 Metascore
    • 75 Roger Moore
    The Wind Rises was a dream project for the great Japanese animator Hayao Miyazaki, and this gorgeous film makes a fine capstone for his career.
    • 83 Metascore
    • 63 Roger Moore
    Hogancamp seems a pleasant, offbeat and intuitive fellow who probably takes all this less seriously than those who "discovered" him.
    • 83 Metascore
    • 75 Roger Moore
    It’s still a welcome, entertaining and overdue delivery of credit where credit was and is due.
    • 83 Metascore
    • 75 Roger Moore
    It's rooting against grandma that drives this violent, hardhearted film, and waiting for the pride of lions she's created to devour her that gives Animal Kingdom its animal energy.
    • 83 Metascore
    • 75 Roger Moore
    A stunning exercise in 3D and a delightful celebration of Scorsese's lifelong love of the movies, something he, like Hugo, developed on childhood.
    • 83 Metascore
    • 88 Roger Moore
    The performances and Greengrass’s way with action immerse us and make Captain Phillips a tight, taut,edge of your seat thriller even if you remember the ending.
    • 83 Metascore
    • 75 Roger Moore
    The Lego Movie amuses and never fails to leave the viewer –especially adults — a little dazzled at the demented audacity of it all.
    • 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.
    • 83 Metascore
    • 100 Roger Moore
    56 Up feels like the most hopeful film of them all - amusing, entertaining, and touching.
    • 83 Metascore
    • 63 Roger Moore
    A few genuinely (and literally) hair-raising moments, a few knowing winks and a lot to think about lift It Follows above the horror pack.
    • 83 Metascore
    • 63 Roger Moore
    It’s predictable, downright conventional, considering how much more “out there” his breakout film, “Sleepwalk With Me” (also about a struggling comic) was.
    • 82 Metascore
    • 50 Roger Moore
    At this stage of this saga, you kind of know where it’s going and which emotional buttons will be punched, the ones I predicted way back in 1984 with my little "IV-I.V.” crack. Another two hours and 13 minutes of it, even with decent “Rocky” style (roundhouse punch after roundhouse punch) is hardly merited.
    • 82 Metascore
    • 75 Roger Moore
    Like Tati himself, The Illusionist feels like a relic of a different time.
    • 82 Metascore
    • 88 Roger Moore
    It takes nothing away from The End of the Tour in labeling this Jason Segel/Jesse Eisenberg dramedy a “bromance.”
    • 82 Metascore
    • 50 Roger Moore
    More a movie that you appreciate and ponder than one you embrace and enjoy. Whatever its intellectual pretensions, I am looking forward to never seeing it again.
    • 82 Metascore
    • 75 Roger Moore
    Frances Ha turns melancholy and almost painful to watch in its last act as she and we see the dead end dead ahead. And the film doesn’t seem to earn the finale the two of them cooked up for us.
    • 82 Metascore
    • 63 Roger Moore
    What we have here is a gripping story rather dryly told, a somewhat frustrating essay on Scandinavian passivity without the pathos of the similarly themed Oscar winning Danish film “In a Better World.” It’s the helplessness that gets to you.
    • 82 Metascore
    • 75 Roger Moore
    The riffing, the one-upsmanship, the off-the-cuff zingers and the singing (ABBA, a great favorite of Coogan's most famous creation, the dizzy talk show host Alan Partridge) make The Trip an easy-going trek down a road well-traveled by these two.
    • 82 Metascore
    • 88 Roger Moore
    Witty, warm and wistful and in just the right proportions, Spectacular is the best-acted film of the summer.
    • 82 Metascore
    • 75 Roger Moore
    This quick, short Sundance Film Festival award winner leaves out a lot more about Brinkley than in it includes. But save your trip to the library (or Wikipedia) for after the film. The surprises, comic and tragic, are worth waiting for.
    • 82 Metascore
    • 88 Roger Moore
    It strips away the myth and icon and reveals Jobs for the hustler-huckster he was, just a smooth, smiling turtleneck, trying to sell us something. In many ways, his film makes all other Jobs movies unnecessary.
    • 82 Metascore
    • 88 Roger Moore
    Haneke tells this tale a bit too patiently for my taste. But the metaphors are unmistakable, as is the power of the film’s message.
    • 82 Metascore
    • 63 Roger Moore
    None of it adds up to much more than a chuckle or two, a smile or three and a lot of slow, poetically drawn-out moments of mild anguish or the simple delight of walking through Greenwich Village in the spring.
    • 82 Metascore
    • 88 Roger Moore
    Sicario is a conventionally unconventional drug wars thriller, a well-cast, breathlessly executed peek into the heart of a Trumpian nightmare of Mexican cartels which kill at will on either side of an embattled border.
    • 81 Metascore
    • 63 Roger Moore
    Experimenter is a capital example of that prophet-ahead-of-his-time narrative, a movie about a scientist who lived (just) long enough to revel in the fact that he was onto something before everybody else. And that he was right.
    • 81 Metascore
    • 88 Roger Moore
    Arrival puts Villeneuve, who first came to attention with “Incendies,” firmly in the first rank of filmmakers, a director capable of not just entertaining, but challenging. And the wide-eyed Adams, near the top of the list of the best actresses never to win an Oscar, delivers another riveting, melancholy and life-affirming performance that threatens to change that, maybe as soon as next February.
    • 81 Metascore
    • 75 Roger Moore
    It's a gritty, almost ugly to look at film, and Cianfrance isn't shy about including a random blast of unwarranted shaky footage.

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