For 1,544 reviews, this critic has graded:
  • 52% higher than the average critic
  • 3% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 2.4 points lower than other critics. (0-100 point scale)

Roger Moore's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 12 Years a Slave
Lowest review score: 12 Creature
Score distribution:
1544 movie reviews
    • 85 Metascore
    • 38 Roger Moore
    Glibly put, this challenging time-skipping rumination is the big screen equivalent of watching that "Tree" grow.
    • 76 Metascore
    • 38 Roger Moore
    10 Cloverfield Lane is built on the fear of an unknown that we know. Turns out, all that secrecy and hype and branding the “Cloverfield” name were not just this product’s marketing strategy. That’s all they had. Period...So, “Room” is still in theaters. It’s more harrowing, more terrifying, more thrilling and moving than Cloverfield Lane could ever hope to be. Go see that instead.
    • 73 Metascore
    • 38 Roger Moore
    Results is a comedy that never offers more than unsatisfactory ones — results, I mean.
    • 67 Metascore
    • 38 Roger Moore
    The fun is in shorter supply. And all these gear-jamming chases and wince-inducing explosions cannot hide that this ride has long been on a road to nowhere.
    • 67 Metascore
    • 38 Roger Moore
    Somewhere is a triumph of tedium, banality passing for depth, a vacuous embrace of nothing.
    • 67 Metascore
    • 38 Roger Moore
    Overlong, polished but drab civics lesson of a comedy. This “Barbershop” is in sore need of a trim, and not just a little off the top, either.
    • 65 Metascore
    • 38 Roger Moore
    Mockingjay II is a bare bones finale — a tedious two hours in which nothing at all happens, with the briefest of breaks for a zombie chase and attack and a half-hearted bit of sci-fi combat.
    • 65 Metascore
    • 38 Roger Moore
    "Evil" fails to triumph. Utterly.
    • 65 Metascore
    • 38 Roger Moore
    Entertainment is rife with randomness, shot through with misery and self-loathing and flat out unpleasant as a screen experience.
    • 64 Metascore
    • 38 Roger Moore
    This isn't satire, it isn't that funny and the only bits that work are the titillating ones.
    • 64 Metascore
    • 38 Roger Moore
    Dull, carnal, and explicitly so in both regards, it’s a slow-moving slog through one crushed soul as she relates the empty, passionless pursuits of her youth.
    • 61 Metascore
    • 38 Roger Moore
    The charm has aged right out of this silly stoner franchise.
    • 60 Metascore
    • 38 Roger Moore
    Give it up for Sandra Bullock and Melissa McCarthy. You’ll never see them work harder at a comedy than in The Heat, a stumbling, aggressively loud and profane cop buddy picture where they struggle to wring “funny” out of a script that isn’t.
    • 59 Metascore
    • 38 Roger Moore
    It never adds up to anything more than the mood Demeestere manages to translate from Franco’s fiction. Which makes Yosemite a “film festival movie,” nothing more than a promising idea or two and an interesting tone to recommend it.
    • 59 Metascore
    • 20 Roger Moore
    Director Zack Snyder choreographs this like a video game, emphasizing the body count over character.
    • 58 Metascore
    • 38 Roger Moore
    Sure, it’s basically one long testicles joke. But set your expectations low enough and you’ll find a laugh, here and there.
    • 58 Metascore
    • 38 Roger Moore
    A misshapen, aimless midlife crisis travelogue/romance with discourses on the the repression and inequity of Saudi Arabia, dating in the Islamic world and the nature of American/Chinese business competition, it’s the weakest Tom Hanks vehicle in decades.
    • 57 Metascore
    • 38 Roger Moore
    Daybreakers is a stylish but unavoidably silly sci-fi vampire thriller.
    • 57 Metascore
    • 38 Roger Moore
    A slight and somewhat demure romantic comedy/friendship comedy built around two mildly interesting characters.
    • 57 Metascore
    • 38 Roger Moore
    Lacking a smoking gun, this Riviera-set crime thriller lacks both thrills and convincing evidence of a crime. “Poetic license” or not, that doesn’t add up to an engrossing film.
    • 57 Metascore
    • 38 Roger Moore
    Band of Robbers is a film of little flourishes that work better than the story they’re adorning.
    • 57 Metascore
    • 38 Roger Moore
    Neeson is the rock anchoring all this, making the incredible at least passably credible as he lurches into the frame with his limping boxer’s gait. But you get the sense that he is no more “Taken” with this than we are.
    • 56 Metascore
    • 38 Roger Moore
    Those Jackasses from "Jackass" aren't getting better, they're getting older.
    • 56 Metascore
    • 38 Roger Moore
    The resolution to this puzzle is so botched it’s insulting, as if they’re daring us to laugh at the notion that this is merely “the beginning.”
    • 56 Metascore
    • 38 Roger Moore
    A weak villain, a couple of eye-rollingly unlikely cons and dead stretches that make 105 minutes play like 145 and you've got Focus, the last dog of February, where comatose con job movies are released to the sounds of silence.
    • 56 Metascore
    • 38 Roger Moore
    This Herefter, despite the odd engaging moment, is a terrible letdown, like investing in a belief system and discovering there's no "here" that you've been after all your life.
    • 55 Metascore
    • 38 Roger Moore
    Hobo hits the screen as a grim, visually ugly, intermittently funny-occasionally preachy piece with only the estimable Mr. Hauer to recommend it.
    • 55 Metascore
    • 38 Roger Moore
    In this not-even-faintly scary, rarely funny horror comedy, Smith is still sucking down big gulps of empty calories and hoping we’ll laugh at his belch.
    • 55 Metascore
    • 38 Roger Moore
    Walker has few “big” scenes, no memorable dialogue and plays up the exhaustion, which tamps down the emotions of his performance. So even an action packed finale can’t rescue this dramatically thin exercise in one-man showmanship.
    • 54 Metascore
    • 38 Roger Moore
    “Magic” lacks too many things to rank among Allen’s better recent films — the come-uppance and zeitgeist currency of “Blue Jasmine,” the frivolity of that don’t-think-too-much-about-this lark “Midnight in Paris.” But the biggest shortcoming is right there in the title, a tease if ever there was one.
    • 54 Metascore
    • 38 Roger Moore
    It's a junky, crowd-pleasing movie of sidekicks – Guzman and Knoxville – bad acting, over the top shootouts, and catch phrases.
    • 54 Metascore
    • 38 Roger Moore
    Late to the game, blandly cast and scripted with every Italian American cliche in the “How to Make Spaghetti” cookbook, it is Eastwood’s worst film as a director.
    • 54 Metascore
    • 38 Roger Moore
    The germ of an idea is here. I’m just not sure it’s worth more than a shorter film than this one, which at 80 minutes is a bit of a drag.
    • 53 Metascore
    • 38 Roger Moore
    It's not as scary as it needs to be or as clever as it thinks it is, but the new 3D version of "Piranha" is at least as gimmicky as those fabled 3D films of yore. With all the pointless 3D cartoons and joyless 3D ""Clash of the Titans" conversions, at last here's a picture that tosses its cookies, its coffee cups and its D-cups right in your lap.
    • 53 Metascore
    • 38 Roger Moore
    In Let Me Explain, you’re never NOT aware that you’re watching a gifted, rubber-faced/rubber voiced performer (his “Laugh at My Pain” concert film was a surprising hit in 2011) work too hard to make inferior material go over.
    • 53 Metascore
    • 38 Roger Moore
    The production values and high-caliber cast suggest Big Game had better intentions than results. Helander may have memorized “Die Hard” and “Air Force One” and “Olympus Has Fallen.” But his version of that formula, given the loopy twist of making a woodsman/kid the hero “with particular skills,” loses most everything in translation.
    • 52 Metascore
    • 38 Roger Moore
    LUV
    The absurd turns the story takes to serve up streetwise and bloody "life lessons" for the kid will make any parent blanch and any movie lover roll his or her eyes.
    • 52 Metascore
    • 38 Roger Moore
    It's a fitfully amusing, not remotely scary slasher picture.
    • 52 Metascore
    • 38 Roger Moore
    A tragic quasi-musical that never quite finds its way.
    • 52 Metascore
    • 38 Roger Moore
    Yes, the technology has improved in the 27 years that have passed. But the ensuing years have also produced first person shooter video games which utterly preclude the need for this as a movie. Visceral, violent toys that they are, they still have more heart than this.
    • 51 Metascore
    • 38 Roger Moore
    A mirthless, joyless comedy with nary a hint of romance, mystery or justification for its existence.
    • 51 Metascore
    • 38 Roger Moore
    Blackhat will serve no purpose other than deflating the “Heat” director’s reputation and the star’s chances of ever starring in anything that doesn’t involve a helmet with horns on it.
    • 51 Metascore
    • 38 Roger Moore
    Whatever its intent, White Bird in a Blizzard misuses most everybody involved, especially the dazzling young star of “The Descendants,””The Fault in Our Stars” and “Divergent.”
    • 51 Metascore
    • 38 Roger Moore
    It's light in tone, feather-weight. But there aren't many laughs in it.
    • 51 Metascore
    • 38 Roger Moore
    Hardcore Henry is jarring and so a-cinematic that I couldn’t enjoy much of the technical razzle-dazzle this ticking-clock monstrosity was hurling at me.
    • 50 Metascore
    • 38 Roger Moore
    This isn't the worst of the bunch, not by far. But my premonition is this won't be the finale this series has screamed out for these past few years. This decapitation train never seems to reach its destination.
    • 50 Metascore
    • 38 Roger Moore
    Why not wade in? Why not? That’s almost the only real action or borderline funny thing to it for 45 minutes or so. And it’s only 86 minutes long.
    • 50 Metascore
    • 38 Roger Moore
    The polished production sometimes touches and amuses despite its naïve “love conquers all” script.
    • 50 Metascore
    • 38 Roger Moore
    Time Lapse is time travel thriller that flatlines, mainly because of the consistently flat performances.
    • 50 Metascore
    • 38 Roger Moore
    The fights are Old Hollywood meets New Bloodbath — corny and carnage-filled. The whole saga seems pre-ordained, pre-packaged and pretty boring, entirely too predictable to come off.
    • 50 Metascore
    • 38 Roger Moore
    It’s preachier, more diverse in its casting. All of which make it more specific and limit it. Throw in generally lackluster performances and illogical plot twists and “Anarchy” is seriously crippled.
    • 49 Metascore
    • 38 Roger Moore
    It's an infuriatingly static picture - actors walking around when they should be running, ruminating when they should be panicking, generally failing to convey fear and pick up the pace.
    • 49 Metascore
    • 38 Roger Moore
    Like Vin Diesel, it has bulk, lumbering clumsily along as it repeats Diesel’s greatest hits — the ones that don’t require him to drive a fast and furious car.
    • 49 Metascore
    • 38 Roger Moore
    It's a modestly effective but jaw-droppingly violent picture.
    • 48 Metascore
    • 38 Roger Moore
    A bloated all-star melodrama with none of the lean, mean legalese of a John Grisham adaptation, it’s a showboat’s movie cast with a lot of actors each promised “a big, cool scene.”
    • 48 Metascore
    • 38 Roger Moore
    There’s no reason the missionary-recruiter turned stalker idea couldn’t work. But this one doesn’t.
    • 48 Metascore
    • 38 Roger Moore
    Ardor, in the end, has little ardor, or originality or magic about it. It’s just a mundane C-movie action picture that tries to pass itself off as something deeper.
    • 48 Metascore
    • 38 Roger Moore
    The acquired taste that is Seth MacFarlane is harder to acquire and the one joke in his one-joke comedy about the pot-smoking/potty-mouthed teddy bear wears thin in the endless two hours of Ted 2.
    • 48 Metascore
    • 38 Roger Moore
    Choppy and bordering on incoherent, Bullet to the Head is Stallone's answer to Schwarzenegger's "The Last Stand," an action exercise in "Here's how we used to do it."
    • 48 Metascore
    • 38 Roger Moore
    It's all tiresome, muddied and artlessly made.
    • 47 Metascore
    • 38 Roger Moore
    It takes nothing away from the awful thing people who experience this go through in saying that movies about it all too often are all tropes that render it trite.
    • 47 Metascore
    • 38 Roger Moore
    Standard issue spy stuff, a surprise or two, a shootout or three. Nothing you should pay money to see in a theater.
    • 47 Metascore
    • 38 Roger Moore
    Minor moments of slapstick may tickle the kids, but anybody older, especially those who remember what Williams was like in his prime and how funny Stiller was just two “Museum” movies ago, will wish this tomb had stayed sealed.
    • 47 Metascore
    • 38 Roger Moore
    Blase actors rob this of any prayer of being scary.
    • 47 Metascore
    • 38 Roger Moore
    For all the fun these folks could have had with Hercules maintaining the supernatural assistance facade, or denying it as his handlers gild his lily testifying that it’s true, the movie is content to just go through the motions.
    • 47 Metascore
    • 38 Roger Moore
    It’s too bad the script lacks the sight gags or one-liners that could have made this good looking picture more animated.
    • 47 Metascore
    • 38 Roger Moore
    That score — insistent, sexy, jazzy and loud — almost puts it over, letting us skim over the ways the laws of logic and physics are violated, the lack of charisma of these “charismatic” magicians, the works. Until the ending, where it all feels like a cheap cheat and a waste of two hours and nine minutes of your life.
    • 46 Metascore
    • 25 Roger Moore
    Rock is a poorly written and ineptly directed genre piece that lacks tension, suspense, fear, all those things that make’ a “thriller” thrilling.
    • 46 Metascore
    • 38 Roger Moore
    We Are Your Friends has no heartbeat. It flatlines, early on.
    • 46 Metascore
    • 38 Roger Moore
    The film manages one grand "300″ moment, Cavill rallying troops for battle, doing his best Gerard Butler. But the lack of humor, the confusing, stumbling story and limited color palette blunt the film's 3D slo-mo shots of heads exploding and torsos torn asunder by the sword.
    • 46 Metascore
    • 38 Roger Moore
    A generally joyless pastiche of sorcery history, imitation Potter "chosen one" Messianics and mirthless silliness, it's another in a string of recent black marks against Cage's Oscar-owning reputation.
    • 46 Metascore
    • 38 Roger Moore
    "English Reborn" isn't terrible and is certainly seriously harmless.
    • 46 Metascore
    • 38 Roger Moore
    Clinical as a classroom lecture, it’s a limp sadomasochism primer, which explains both the runaway success of the E.L. James novel and the startling pre-opening sales stats from America’s Promise Keepers belt.
    • 46 Metascore
    • 38 Roger Moore
    Though it rarely looks as malnourished as say, “Europa Report” or “Moon,” Last Days on Mars does show how starved of new ideas sci-fi cinema is.
    • 46 Metascore
    • 38 Roger Moore
    The entire affair feels malnourished, under-rehearsed and starved of energy.
    • 45 Metascore
    • 38 Roger Moore
    It’s a stunt-heavy chase picture with some arresting camera work, but not much else to recommend it.
    • 45 Metascore
    • 38 Roger Moore
    An exploitation picture built on redneck cliches and big city liberal outrage, it's not all bad. But it is a pretty unpleasant wallow in the obvious.
    • 45 Metascore
    • 38 Roger Moore
    As straight exploitation, it's amusing, in fits and starts. It's just that Colombiana lacks the kinetic energy of "The Transporter" and the pathos of "La Femme Nikita."
    • 45 Metascore
    • 38 Roger Moore
    At long last, The Twilight Saga sinks utterly into camp with Breaking Dawn: Part 1.
    • 45 Metascore
    • 38 Roger Moore
    It's the same movie as the earlier "gotta dance" over-choreographed crunk-and-breakdance epics. Exactly the same.
    • 45 Metascore
    • 38 Roger Moore
    A rude and seriously crude riff on taking a vacation from marriage.
    • 45 Metascore
    • 38 Roger Moore
    The best that can be said for “Step V” is that it has some sparkling moments of choreography, clever gimmicks as themes for the dance-offs and lovely costumes.
    • 45 Metascore
    • 38 Roger Moore
    Riley makes a lousy, hoarse-voiced Darcy. James sets off no sparks with him, suggests no heartbreaking longing. If you want to make a point about women liberated by a zombie invasion into independent-minded martial arts warriors, why do it with one of the greatest romance novels of all time? There’s barely a laugh here, and nothing resembling human emotion.
    • 45 Metascore
    • 38 Roger Moore
    A little like modern country music - odd moments of sincerity, heart and authenticity peek through the plastic, the hype and the manufactured hokum.
    • 45 Metascore
    • 38 Roger Moore
    A genre mash-up that never quite achieves "So very bad it's good" status.
    • 44 Metascore
    • 38 Roger Moore
    Seth MacFarlane wants to be a movie star in the worst way. A Million Ways to Die in the West is result of this longing, a long/longer/longest comedy with long waits between jokes and longer waits between those that work. Thus, does his leading man career begin and end with a “worst way” Western.
    • 44 Metascore
    • 38 Roger Moore
    A graphically violent, sexually explicit teen horror tale, it was close to being ahead of its time, in its time. Now, it plays like a quaint, fairly obvious period piece — from 2006.
    • 44 Metascore
    • 38 Roger Moore
    If you’re going to commit to a blasphemous stoner comedy mocking the New Testament prophesy of the coming Rapture, you’d better go all in. Because halfway isn’t funny.
    • 44 Metascore
    • 25 Roger Moore
    83 minutes of excruciating, nauseating, boundary-pushing “comedy” that never for a second feels like it’s anything but visual evidence of the end of Sacha Baron Cohen’s comic leading-man career.
    • 44 Metascore
    • 38 Roger Moore
    The sex sequences are revealingly awkward - with their "Don't try this at home" message. But without characters we can invest in, this "Hangover Meets Zack & Miri Make a Porno" is just the "porno," and entirely too tame for that, too.
    • 44 Metascore
    • 38 Roger Moore
    Whatever brownie points Tillman scored with "Notorious", Faster is that wake-up call that he's no John Woo.
    • 44 Metascore
    • 38 Roger Moore
    It aims for that “Hangover” blend of the sick and the sentimental. And it doesn’t work.
    • 44 Metascore
    • 38 Roger Moore
    It’s a vacuous affair, dull performances trapped in duller writing, ironically funny only when you take the writer’s words to be the screenwriter’s admission of guilt.
    • 44 Metascore
    • 38 Roger Moore
    If it weren’t for the well-intentioned moments of pathos — a tear or two, hear and there — Tio Papi would be a complete waste of time.
    • 43 Metascore
    • 25 Roger Moore
    Survival of the Dead lacks the wit of "Zombieland," the polish and punch of last winter's "The Crazies," a remake of a Romero zombie picture from the '70s.
    • 43 Metascore
    • 38 Roger Moore
    Sudeikis is well-cast as a bird whose “cardinal sin” is cynicism, but he has virtually nothing funny to say.
    • 43 Metascore
    • 38 Roger Moore
    Hallstrom and his low-heat stars can’t find the pulse of this corpse.
    • 43 Metascore
    • 38 Roger Moore
    For all the heists, chases and shoot-outs, it's a sluggish picture. Characters feel the need to stop the action to explain themselves. Thoroughly.
    • 43 Metascore
    • 38 Roger Moore
    This script, this leaden direction ensures that even as the teen wish-fulfillment fantasy, complete with young women playing dress-up, Monte Carlo fails.
    • 43 Metascore
    • 25 Roger Moore
    The eggshells the screenwriter and director walk on distance the story from the reality it aims to imitate. And that robs this tale of loss, grief and redemption of its punch.

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