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 The Fighter
Lowest review score: 0 Mike Boy
Score distribution:
1946 movie reviews
    • 41 Metascore
    • 50 Roger Moore
    So as much as every generation deserves it’s own Romeo & Juliet, this latest one does nothing to make anyone older than Hailee Steinfeld forget the heat of Baz Lurhmann’s far sexier, noisier and passionate modern dress version of 1996, where Claire Danes and Leo DiCaprio completely convinced us that they knew how to “play Satan’s game.” And how.
    • 39 Metascore
    • 50 Roger Moore
    Needed more movie to go with its message.
    • 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.
    • 53 Metascore
    • 50 Roger Moore
    So yes, even if you know how this story goes, there are moments that work wickedly well in between the needlessly drawn out ones, by which I mean the entire, predictable third act.
    • 59 Metascore
    • 50 Roger Moore
    This culture-clash/mother bonding story was never going to be “Frozen River,” but you do sense that a lot of potential was squandered in denying these mothers big moments of mourning, bigger confrontations with the fathers of their sons.
    • 54 Metascore
    • 50 Roger Moore
    As Jackass japes go, though, Bad Grandpa was better in concept and in its short, punchy TV commercials than it is as a feature.
    • 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.
    • 52 Metascore
    • 50 Roger Moore
    The script here is pretty stale stuff, with an under-developed side story of the cop (Karen Mok) on Donako’s trail and dialogue (in English and Chinese) that is often banal.
    • 76 Metascore
    • 50 Roger Moore
    Deep thoughts about re-directing cynically manipulated celebrity, lump in the throat moments at people rising up against their oppressors, a couple of memorable deaths and attempts at sacrifice play as flat when there’s nothing around them to serve as contrast.
    • 49 Metascore
    • 50 Roger Moore
    Lee, in a sort of humorless send-up of Tarantino, substitutes kinky for mystery, explicit sex and violence for sex and violence with real shock value. When it comes to this remake, you plainly can’t teach an oldboy like Lee new tricks.
    • 63 Metascore
    • 50 Roger Moore
    As colorful as it and its people are, Cooper lets the brawling and the bigger-than-big performances get the better of him, and his story. Out of the Furnace feels undercooked, as a result.
    • 50 Metascore
    • 50 Roger Moore
    It barely has a fright in it on its own, this bloody, Mexican-made supernatural thriller set in the hill country near Tijuana. But open it with a hot “Blue is the Warmest Color” sex scene, toss in a few other hot and heavy moments and a generous helping of nudity and you can be sure, at least, of getting a Hollywood studio’s attention.
    • 35 Metascore
    • 50 Roger Moore
    It’s perfectly passable holiday entertainment for people who dated during the “Rocky” and “Raging Bull” era. Just don’t expect this Grudge Match to be much of a challenge.
    • 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.
    • 41 Metascore
    • 50 Roger Moore
    They waste this cast and these characters on a story so conventional, so neatly wrapped up in the finale, that the real mystery is how Gregorini and co-writer Sarah Thorpe didn’t see that.
    • 34 Metascore
    • 50 Roger Moore
    The payoff isn’t nearly as interesting as the cryptic set-up and disquieting performances and scenes that precede it in The Wait.
    • 37 Metascore
    • 50 Roger Moore
    It’s the sort of movie whose finale leaves you wondering, “Why do they always leave out what happens next?”
    • 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.
    • 52 Metascore
    • 50 Roger Moore
    For all its filmmaking care and care-worn performances, is nothing more than a beach book, inconsequential and utterly out of place in January.
    • 36 Metascore
    • 50 Roger Moore
    It’s over familiar, a movie that plays like recycled, R-rated outtakes from “Rules of Engagement” or “How I Met Your Mother.”
    • 31 Metascore
    • 50 Roger Moore
    Tedious as all this vampire exposition is (and there’s a LOT), the jokey tone here is much appreciated, with everyone “a few corpuscles shy of an artery” and the action as predictable as “a porcupine in a hot tub.”
    • 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.
    • 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.
    • 22 Metascore
    • 50 Roger Moore
    Barefoot is “Rainman” meets “Benny & Joon.”
    • 56 Metascore
    • 50 Roger Moore
    Non-Stop is a solid, workmanlike action picture that builds slowly, bends over backwards to over-explain itself and its villain, and delivers a lulu of an ending.
    • 40 Metascore
    • 50 Roger Moore
    The cloying narration and the inclusion of Fonda are just warnings for that moment, 70 minutes in, when this comic chemical train goes completely off the rails. Rockwell, Wilde, Monaghan are worth the price of admission, but “Better Living” would have been better off with more chemistry and less cutesy.
    • 39 Metascore
    • 50 Roger Moore
    The cast doesn’t have the sassy swagger of the “Fast & Furious” crew. Paul, surrounded by co-stars of the same modest height, isn’t particularly charismatic in this setting. He’s not a natural “quiet tough guy.” But the actors are second bananas here — to the Koenigsegg Ageras, Saleens and Shelby Mustang that feed America’s Need for Speed, on screen and off. And the cars deliver.
    • 61 Metascore
    • 50 Roger Moore
    Jake Gyllenhaal does tour de force double duty in the intimate thriller Enemy, a cryptic essay on identity. He is terrific in both guises, but he is trapped in a frustrating puzzle without a solution.
    • 45 Metascore
    • 50 Roger Moore
    Among the cast, the Oscar winner Cotillard acquits herself the best, bleary-eyed and bitter.

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