For 1,916 reviews, this critic has graded:
  • 50% higher than the average critic
  • 3% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 4.1 points lower than other critics. (0-100 point scale)

Roger Moore's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 The Social Network
Lowest review score: 12 Creature
Score distribution:
1916 movie reviews
    • 80 Metascore
    • 60 Roger Moore
    Casino Royale is just swell when Bond is busting up bathrooms in Prague, busting up embassies in Madagascar and busting a move in Nassau. But when he gets to, well, Casino Royale (here, in the former Yugoslav Republic of Montenegro), the film goes utterly flat.
    • 49 Metascore
    • 60 Roger Moore
    Terminator Salvation is one of the most visually impressive films in the series. The action is non-stop and the look borders on dazzling.... But ironically for a series that's supposed to be about an embattled humanity struggling against those who lack it, there isn't an emotional moment in this.
    • 53 Metascore
    • 50 Roger Moore
    Only Posey lightens up and lights up Irrational Man, which, for all its hectoring faults, is still a “Woody Allen Film,” and thus not a total write-off. At least the Newport, Rhode Island and environs locations are fresh.
    • 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.
    • 40 Metascore
    • 50 Roger Moore
    Philippe co-wrote directed and stars in Catch, so it’s easy to read a lot into this performance, a low-maintenance, low wattage but still recognizable movie star reduced to making a low-budget film in Shreveport.
    • 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
    Whatever power this piece of writing had over the two of them, Captive fails to capture the magic, hope or whatever made it a best seller.
    • 51 Metascore
    • 50 Roger Moore
    Me Before You is a goofy, giddy doomed romance and female wish-fulfillment fantasy.
    • 35 Metascore
    • 50 Roger Moore
    The Hunter’s Prayer isn’t in that top drawer. But with action auteur Jonathan Mostow (“Breakdown”) behind the camera and Sam Worthington in front of it, it gives fair value — and then some — as it treads a well-worn path.
    • 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.
    • 50 Metascore
    • 50 Roger Moore
    Connolly’s film, formerly titled less poetically, “Backcountry,” has a lovely, wintry tone and a few minor surprises. The action sequences are competently handled, even if there’s little real suspense about what is coming and where this is going.
    • 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.
    • tbd Metascore
    • 50 Roger Moore
    Bushwick never rises above bush league, more a missed opportunity than a wickedly on-target winner.
    • 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.”
    • 24 Metascore
    • 50 Roger Moore
    Chloe and Theo feels like Dakota Johnson’s atonement for the meretricious slime that was “Fifty Shades of Grey.”
    • 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.
    • 26 Metascore
    • 50 Roger Moore
    Mainly, though, Safelight is just a California tourism travelogue — See Scenic Joshua Tree, Visit the Lighthouses of Southern California. Which we do, in 80 odd-but-not-odd-enough minutes.
    • 78 Metascore
    • 50 Roger Moore
    Those scenes with Letts are worth the price of admission, even if the movie overall drags, dry and not nearly as droll as Roth must have intended.

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