For 1,565 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 Whiplash
Lowest review score: 12 Creature
Score distribution:
1565 movie reviews
    • 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.
    • 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.
    • 56 Metascore
    • 50 Roger Moore
    His comedy, whatever it was at an earlier age, is comfort food now.
    • 51 Metascore
    • 50 Roger Moore
    Refn’s skewering of this empire of awfulness is undercut by his plodding, portentous pacing.
    • 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.
    • 53 Metascore
    • 50 Roger Moore
    If you want another lesson about why we should be going to Mars and what we’ll encounter and maybe find out about ourselves, “Unknown” will do until we have an actual liftoff.
    • 35 Metascore
    • 50 Roger Moore
    Just stumbles on and on, introducing new theories and facts and then explaining, explaining explaining them, right up to the closing credits.
    • 49 Metascore
    • 50 Roger Moore
    The tempered violence, the nature of the villains, the easy bonhomie of our leads and a cast peppered with great supporting players make Escape Plan go down easier than the other “Rambo/Last Man Standing/Expendables” pictures that brought these two aged action stars back from the dead.
    • 36 Metascore
    • 50 Roger Moore
    This thing is one rewrite away from being something we’d remember.
    • 57 Metascore
    • 50 Roger Moore
    Though it is funnier and out-charms “Tio Papi,” it lacks the whimsy, magical realism and kid-friendly sentiment of the sleeper hit, “Instructions Not Included.”
    • 30 Metascore
    • 50 Roger Moore
    As "Hangovers" go, Part III isn't challenging or unpleasant, just instantly forgettable. It won't take much to sleep this one off.
    • 61 Metascore
    • 50 Roger Moore
    Bad movies are rarely as much fun as these “Fast and the Furious” pictures. And make no mistake about it — they’re bad.
    • 88 Metascore
    • 50 Roger Moore
    Alternately daring and dull, inventively animated, intimate and yet impersonal, it’s challenging enough to turn off most.
    • 30 Metascore
    • 50 Roger Moore
    Greenwood and Richardson make a fine, discordant couple and the young leads have a certain chemistry. If only Feste had realized she’d stripped almost all the conflict out of the story.
    • 31 Metascore
    • 50 Roger Moore
    Winter’s Tale has no narrative drive and too little heart to come off.
    • 69 Metascore
    • 50 Roger Moore
    It’s just not that funny, not that sad and not on target, satirically. This “Welcome” isn’t nearly welcoming enough.
    • 63 Metascore
    • 50 Roger Moore
    The new creature feature Monsters is an intriguing mash-up of "District 9," "The Host" and assorted recent post-apocalypse road pictures.
    • 30 Metascore
    • 50 Roger Moore
    James takes his comic lumps like a man. His Griffin suffers injuries and indignities and lets us laugh at him as he does. No matter where the script wanders and where the direction founders, at some point, James' comic instincts take over. And this time, they don't let him down.
    • 64 Metascore
    • 50 Roger Moore
    It’s not a bad film, this first-half of the concluding chapter of “The Hunger Games.” But it is, from first scene to last, just a tedious good-looking set-up for what one might hope would be a more lively, and perhaps better lit and ventilated finale.
    • 74 Metascore
    • 50 Roger Moore
    There’s no drama, no conflict, and apparently no one told director Jody Lee Lipes that even documentaries require some of that to be rendered watchable.
    • 44 Metascore
    • 50 Roger Moore
    Collins (“Mirror Mirror”) and Claflin, of the last “Pirates of the Caribbean” movie, do well by the mooning over each other across a crowded dance floor stuff. But they have to keep us believing in “the dream” and hoping for their romance. They don’t.
    • 31 Metascore
    • 50 Roger Moore
    While it is laudable that Oscar winner Kim Basinger, Mickey Rourke, Vivica A. Fox and Anne Heche lent their support to writer-director Jeta Amata’s film, the help he really needed was from screenwriters. Clunky lines, broadly drawn characters, arch situations, from start to finish, Black November is an uphill battle against the urge to roll your eyes.
    • 42 Metascore
    • 50 Roger Moore
    As exhausted as this series and the genre it comes from is, it still manages a few decent jolts thanks to that new approach and a pretty good cast’s reactions to what they, and we, see through the video camera’s viewfinder.
    • 48 Metascore
    • 50 Roger Moore
    If it’s not convincing as either a find-one’s-faith parable or clever spoof of pop Christianity, at least it’s relevant.
    • 43 Metascore
    • 50 Roger Moore
    It sometimes moves us, where the admittedly more arduous ordeal of Louis “Unbroken” Zamperini failed to move, at least on the big screen.
    • 62 Metascore
    • 50 Roger Moore
    His hair is thinning and his features are thickening, and Jude Law is evolving into a more interesting actor as this happens. He’s more at home in tough guy roles such as “Dom Hemingway.” The gritty submarine thriller Black Sea is his latest one of those. But in this case, it’s a salty performance that seems just beyond his grasp.
    • 61 Metascore
    • 50 Roger Moore
    A well-acted tale of an underdog's triumph that sorely lacks an underdog, it teeters between pleasantly generic film biography and rank manipulation.
    • 63 Metascore
    • 50 Roger Moore
    Green Zone isn't so much a bad movie as a misguided one.
    • 48 Metascore
    • 50 Roger Moore
    The milieu — coastal-industrial Australia — is interesting, with its stoner arms dealers and crazed thugs of every age. But what sells Son of a Gun is McGregor’s presence and performance, a guy using and mentoring a gullible but gutsy young man, trying to impart the wisdom of the wizened con to the kid.
    • 35 Metascore
    • 50 Roger Moore
    Jackie Earle Haley, the fans' choice to take on the role of Freddy Krueger in the remake of the 1984 boogeyman blockbuster A Nightmare on Elm Street proves stunningly, rousingly…adequate…for the job.
    • 40 Metascore
    • 50 Roger Moore
    Mansions is like “Vehicle 19″ or “Takers,” dumb, noisy junk.
    • 51 Metascore
    • 50 Roger Moore
    There’s no edge to any character in the movie.
    • 44 Metascore
    • 50 Roger Moore
    Shakman cast this well, so well he can afford to waste a good actor like Oliver Platt on a tiny role as a careless, Bluetooth-addicted Fed and Thornton on a couple of simple exposition scenes.
    • 63 Metascore
    • 50 Roger Moore
    Cute, bordering on cutesy, yes. Light and shallow and inconsequential in a lot of ways. But funny? Rarely.
    • 40 Metascore
    • 50 Roger Moore
    Somewhat less than the sum of its many amusing or at least unusual parts. But with Goldman, West and all these classy co-stars, he’s at least kicking butt in better company these days.
    • 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.
    • 37 Metascore
    • 50 Roger Moore
    My Big Fat Greek Wedding 2 is a veritable feast of low-hanging fruit. The laughs are obvious, we see them coming a mile away.
    • 36 Metascore
    • 50 Roger Moore
    The sylvan setting and short bursts of dramatic interplay are more interesting than coherent in this brief, undeveloped adaptation.
    • 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.
    • 17 Metascore
    • 50 Roger Moore
    The saving grace of this more-rude-than-funny film are its cast. They’re just a quartet of Simi Valley “Woohooo” girls in the opening, but the players make each member of this motley crew distinct, human and out of her depth. And Janet (Flanagan)? You’ll want to party with her.
    • 59 Metascore
    • 50 Roger Moore
    This Paranormal doesn't tamper with the formula that worked in the first two films. It lacks the "money" moments that those films delivered and ends with a finale that is downright conventional. "Paranormal" reveals itself for what it has become, the "Saw" of found video thrillers.
    • 27 Metascore
    • 50 Roger Moore
    If “the gals” have to bow out, at least they try to do it in a sprint -- in their Manolo Blahniks. It’s a pity nobody told them you can’t run in heels -- in sand dunes.
    • 56 Metascore
    • 50 Roger Moore
    There’s no humor and no pathos. The Cuckoo-Clock Heart, pretty as it is, lacks any heart at all.
    • 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.
    • 40 Metascore
    • 50 Roger Moore
    Five Nights gives us only about two nights worth of movie, and far less to chew on than the stingy-with-story director would have us believe.
    • 36 Metascore
    • 50 Roger Moore
    Pan
    This might have made a decent eye-candy musical for kids. But aside from Nirvana and a choral “Blitzkrieg Bop” by the miner kids, there is no music.
    • 40 Metascore
    • 50 Roger Moore
    Charles Dance is the Nosferatu-garbed monster in the cave, a balding, toothy villain in the great tradition of British vampires — Christopher Lee, Gary Oldman, Michael Sheen and Kate Beckinsale among them. The moment he shows up, all shadowy menace and prophecy, “Dracula” gets interesting.
    • 55 Metascore
    • 50 Roger Moore
    The movie hinges on Murray's turn as FDR, and frankly, he comes up wanting.
    • 43 Metascore
    • 50 Roger Moore
    An instant midnight movie, a morbid mishmash of styles and filmmaking formats – 26 films, 26 filmmakers from the four corners of the horror globe, all making short films about death. It’s not for everyone.
    • 35 Metascore
    • 50 Roger Moore
    'Twilight' of the Body Snatchers, without much urgency or sexual heat.
    • 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.
    • 36 Metascore
    • 50 Roger Moore
    Whatever Ron Rash’s novel had to offer, Bier has rendered it into something soapy, with everything compelling about it washed out.
    • 49 Metascore
    • 50 Roger Moore
    The diminutive McAvoy, trying his hand at all manner of action, may be hoping to become the Scottish Tom Cruise. But Welcome to the Punch shows he’s still more of a Scottish Michael J. Fox, an actor better served by roles with more charm and less grimacing than this one.
    • 34 Metascore
    • 50 Roger Moore
    Ferrell is as fearless as ever, stripping down and looking foolish, willing to be out-of-touch and out of step. Hart has his manic moments. But in this buddy comedy, the buddies are not equal and that limits the laughs.
    • 56 Metascore
    • 40 Roger Moore
    In a lot of ways, Die Another Day is a return to Bond's bad-old-days, the early 1980s, when the plots were outlandish and haphazard, the stunts were fake and the whole enterprise was being treated as a cartoon.

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