For 971 reviews, this critic has graded:
  • 57% higher than the average critic
  • 2% same as the average critic
  • 41% lower than the average critic
On average, this critic grades 0 points higher than other critics. (0-100 point scale)

Roger Moore's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 Winter's Bone
Lowest review score: 12 Creature
Score distribution:
971 movie reviews
    • 63 Metascore
    • 63 Roger Moore
    Equal parts inspired and irresponsible, the new film from Miguel Arteta (director of the cult hit 'Chuck and Buck') turns C.D. Payne's books into a hit-or-miss homage to that French classic of outlaw love, 'Breathless.'
    • 51 Metascore
    • 63 Roger Moore
    The new Funeral, directed by social commentator-director Neil LaBute ("Lakeview Terrace") doesn’t improve on the original, which wasn’t exactly a classic despite its classic structure.
    • 40 Metascore
    • 63 Roger Moore
    A perfectly adequate superhero comic-book movie, all explosions, chases, gunfights, sword fights and blood feuds. There’s even a little humor in it.
    • 62 Metascore
    • 63 Roger Moore
    The title’s a trite metaphor and the surprises are thin. But the sleepy scenery and charming performances – Stewart escapes her vampires and reminds everyone what the fuss used to be about – keep The Yellow Handkerchief from blowing it.
    • 63 Metascore
    • 63 Roger Moore
    A sloppy, raucous, time travel farce in the grown-men-gone-wild "Hangover" style, it’s a surprisingly satisfying, if not exactly LMAO, riot.
    • 74 Metascore
    • 63 Roger Moore
    Dreamworks hired the directors of "Lilo & Stitch" to turn Cressida Cowell’s romp of a novel into an animated film and can’t be too surprised that they made, in essence, "Hiccup and Stitch."
    • 39 Metascore
    • 63 Roger Moore
    For all the impressive (but not dazzling) effects, the scattered jokes and stentorian acting (especially from the Olympians), there’s not much here that will stick with you after the popcorn’s gone. But as any ancient Greek could tell you, that’s sort of the point.
    • 58 Metascore
    • 63 Roger Moore
    The Twilight Saga comes close to that sweet spot between swooning silliness and special effects slaughter with Eclipse.
    • 50 Metascore
    • 63 Roger Moore
    Eat Pray Love isn't a bad movie -- just a spiritually dead one, wearing and wearying.
    • 46 Metascore
    • 63 Roger Moore
    The story is kind of all over the place, scatterbrained without being madcap (This one feels tinkered with, reshoots, re-edits.).
    • 47 Metascore
    • 63 Roger Moore
    The players embrace this for the lark it is. Their pleasure in going this gonzo spills off the screen.
    • 62 Metascore
    • 63 Roger Moore
    An intricate and daft tale of love, family and revenge.
    • 50 Metascore
    • 63 Roger Moore
    A ditzy film that offers more evidence that good actors, good action and one-liners don’t solve the one thing missing in every movie video game adaptation – a story that makes sense.
    • 56 Metascore
    • 63 Roger Moore
    Fey flirts and Carell kvetches, Walhberg goes shirtless and Liotta eats Italian. No surprises there. What really clicks is the couple at the core.
    • 44 Metascore
    • 63 Roger Moore
    The movie is a stupid, over-the-top comic-booky action picture with the occasional cheesy effect, oddball casting and an utterly predictable get-that-guy-before-he-gets-us plot, but Evans and a couple of his mates make it passable entertainment.
    • 77 Metascore
    • 63 Roger Moore
    It’s not one of Polanski’s masterpieces, but The Ghost Writer doesn’t dilute his reputation as a master of suspense.
    • 66 Metascore
    • 63 Roger Moore
    City Island is a light “family” romance that goes about as far as its novel location -- an island neighborhood tucked in the middle of New York City -- and a good cast can carry it.
    • 63 Metascore
    • 63 Roger Moore
    Director Thomas Balmes and his editors find moments of humor in “discoveries” or the unfettered urinating of a baby brought up without diapers.
    • 60 Metascore
    • 63 Roger Moore
    This "Inception" meets "Made in Heaven" by way of "They Live" is also the screwiest movie Matt Damon has been in since, what, "Dogma?"
    • 59 Metascore
    • 63 Roger Moore
    It's almost kitschy - the way Stone injects himself into a couple of scenes, an eccentric Eli Wallach cameo, the inclusion of a Charlie Sheen moment that flat out winks at the audience.
    • 53 Metascore
    • 63 Roger Moore
    A gorgeously animated combat fantasy - "The Lord of the Rings" meets "Happy Feet."
    • 64 Metascore
    • 63 Roger Moore
    It's amusingly off-the-wall, but entirely too cluttered to come together.
    • 55 Metascore
    • 63 Roger Moore
    Chairman Mao wouldn't necessarily approve. And even today, China won't be showing Mao's Last Dancer.
    • 60 Metascore
    • 63 Roger Moore
    RED
    Red has enough acting flourishes and incidental action pleasures to make it an adrenalin-jacked giggle, if not exactly the romp one so fervently expects.
    • 60 Metascore
    • 63 Roger Moore
    Like those '70s movies it borrows from, there's a blast of tongue-in-cheek politics built around a "They messed with the WRONG Mexican" message. No, this may not go over in Arizona.
    • 39 Metascore
    • 63 Roger Moore
    As uneven as it is, Life as We Know It still goes down like comic comfort food, especially for anybody who's ever dealt with parenthood.
    • 69 Metascore
    • 63 Roger Moore
    This isn't "Up in the Air," and we're not dealing with this awful event on a metaphysical level. But there's truth in between the cliches.
    • 63 Metascore
    • 63 Roger Moore
    The voice casting is on the money and these funny people - and I'm including Pitt, who plays this sort of self-mocking Adonis well, even in animated form - make this cute comedy come off.
    • 49 Metascore
    • 63 Roger Moore
    Like "Avatar," "Legacy" is a film too in love with its own good looks. And like the original "TRON," the sequel's a bit of a slog.
    • 40 Metascore
    • 63 Roger Moore
    A transgressive blend of stoner comedy, horny teenager movie and "Blair Witch" reality riff, this no-budget romp through teen New Orleans crosses the line and erases that line in a hell-bent pursuit of hell-bound laughs. And yeah, it's often funny as all get out.