For 1,946 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 Spotlight
Lowest review score: 0 Mike Boy
Score distribution:
1946 movie reviews
    • 60 Metascore
    • 50 Roger Moore
    Spectre, set up to be the Daniel Craig finale as Bond, isn’t a terrible installment in the franchise. It’s the lightest of the Craig Bonds — no sin in that. But like the end of Connery, the exit of Roger Moore and the layoff notice given Pierce Brosnan, it’s a tired, trite “greatest hits” re-packaging of stunts, chases and fights from earlier, better Bonds.
    • 43 Metascore
    • 50 Roger Moore
    As it meanders from over-familiar set-pieces and cliches — Tahir drums on empty paint buckets for money, predators face them at every turn, a callous system trips them up, and when they break into that brownstone, naturally they play dress-up — Shelter loses its way.
    • 51 Metascore
    • 50 Roger Moore
    A surehanded, tight and minimalist amateur-kidnapping thriller that benefits from a cast of some repute and a few nods to Tarantino within its 94 minutes.
    • 45 Metascore
    • 50 Roger Moore
    Perhaps some of the same flaws lay beneath the surface of the original film, but the distraction of subtitles helped hide them. Here, they’re gaping holes knock “Secret” off the tracks long before it’s far-fetched twist ending.
    • 36 Metascore
    • 50 Roger Moore
    Still, those who adore the two stars will find some fun here. And if you don’t “know the story,” you won’t be nearly as bored as the rest of us.
    • 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.
    • 66 Metascore
    • 50 Roger Moore
    It’s pretty, occasionally cute, but trippy — random. Yeah, there’s one credited screenwriter, but more than all but the worst Pixar product, it shows the signs of “written by committee.”
    • 25 Metascore
    • 50 Roger Moore
    A movie that won’t convert anyone, a film for the faithful who want to believe nothing but the best about Mother Teresa. Real life is rarely cut and dry, and dramatically flat, as this.
    • 49 Metascore
    • 50 Roger Moore
    As befits a film with Martin Scorsese as a credited producer, “Wannabe” is more “King of Comedy” tragic, more sadly psychotic, than its 2014 predecessor.
    • 49 Metascore
    • 50 Roger Moore
    It’s better in conception than in execution, with all the energy hurled at the effects and murderous Krampus attacks. The actors fail to feel the fear.
    • 56 Metascore
    • 50 Roger Moore
    Joy
    Russell sets out to frustrate, and he does. And Joy never rises above that, an aggravating, un-fulfilling and empty night at the cinema with great actors trapped in an overdue flop from people we were just starting to figure were flop-proof.
    • 81 Metascore
    • 50 Roger Moore
    The Force Awakens boils down to a couple of genuine lump-in-the-throat moments, and those are due to nostalgia. The rest? Seen it, done it, been there, and remember it — even though it was “a long time ago.”
    • 55 Metascore
    • 50 Roger Moore
    The intellectual ambition, the showy “smart” dialogue and collectively quotable characters played by actors we respect make Anesthesia watchable, and its existence as an indie film that attracted this cast, won financing and made it into theaters easy to explain.
    • 53 Metascore
    • 50 Roger Moore
    Take it as a transitional comedy for kids about to outgrow “Kung Fu Panda” and keep your expectations low — very low — and you won’t mind it.
    • 88 Metascore
    • 50 Roger Moore
    Alternately daring and dull, inventively animated, intimate and yet impersonal, it’s challenging enough to turn off most.
    • 55 Metascore
    • 50 Roger Moore
    The best you can say about Forsaken is that it attracted a good cast, sports the odd cool character or hard-bitten bit of dialogue and that the rare surprises in its stolid, formulaic script are pleasant ones.
    • 49 Metascore
    • 50 Roger Moore
    The action is visceral and exciting, but everything between the shootouts, especially the mostly-insipid flashbacks (A pre-Civil War romantic hot air balloon ride in Missouri? Really?) just makes you impatient for Jane to get that gun and get on with it.
    • 66 Metascore
    • 50 Roger Moore
    Plays as a franchise out of ideas, out of jokes and more naked about its real place in the film firmament –as panda pandering to the enormous Chinese movie market.
    • 72 Metascore
    • 50 Roger Moore
    When the Coen Brothers miss, they miss with gusto. Images of Babe Ruth, swinging and collapsing in a heap from the effort come to mind.
    • 64 Metascore
    • 50 Roger Moore
    Mistitled and meandering, it is Michael Moore’s worst film, his weakest whack at America: What Went Wrong?
    • 56 Metascore
    • 50 Roger Moore
    An overlong, all-inclusive and all-too-tepid bio-pic of the great Olympian.
    • tbd Metascore
    • 50 Roger Moore
    It’s just callow, the way we all are/were in our 20s.Which is why the best generational “take stock” reunion movies wait until everybody hits 30, or close to it, before even trying to make sense of it all.
    • 46 Metascore
    • 50 Roger Moore
    Poots, Davis, McCormack, Squibb and Whigham quickly sketch in interesting, if not quite compelling characters. And they, more than the story or locale, make A Country Called Home worth a brief visit.
    • 59 Metascore
    • 50 Roger Moore
    Winds up a thoughtful puzzle of a movie that doesn’t stand up to much scrutiny, a slice of Southern Gothic displaced into rural, redneck New York that loses something in the geographic translation.
    • 47 Metascore
    • 50 Roger Moore
    If the only martial arts movies you’re seeing are “Crouching Tiger” pictures, it’s good to know that they’re keeping up with the state of the art, even if they’re not actually inventing it.
    • 45 Metascore
    • 50 Roger Moore
    This could have been a lighter picture, sort of a semi-dark Nick Hornby spin on music. That might have been less accurate, but more watchable.
    • 50 Metascore
    • 50 Roger Moore
    Lolo is entirely too familiar, too predictable, a character study in romantic mishaps that’s far less interesting than the name Delpy cooked up for her “little alpine bunny,” a passive, pretty creature worthy of our contempt, at least as Wells envisioned him.
    • 87 Metascore
    • 50 Roger Moore
    As a stand-alone film it flirts with utter incoherence.
    • 44 Metascore
    • 50 Roger Moore
    It’s just not enough. The Bronze is predictable, and outside of Rauch, Cole and a very convincing (conditioning, some training, clever editing) Haley Lu Richardson, the cast is bland. Strong has nothing to play, and nobody else makes an impression. The Bronze is proof that one great joke is not the route to comic gold, or for that matter silver.
    • 63 Metascore
    • 50 Roger Moore
    It’s not much of a movie, frankly. But our good will goes a long way where Pee Wee’s concerned. Herman appreciation is like love for Tinker Belle. If you want to like it enough, you will.

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