For 1,941 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 Dallas Buyers Club
Lowest review score: 0 Mike Boy
Score distribution:
1941 movie reviews
    • 48 Metascore
    • 50 Roger Moore
    Movies, life and love, Jacques says, “are like souffles — all about timing.” And Coppola’s is just…off. Paris Can Wait could have been a perfectly adorable wish-fulfillment fantasy for an over-40 audience. She just needed to wait until landing a more engaging leading man.
    • 36 Metascore
    • 50 Roger Moore
    Take away much of the myth, most of the sorcery and all of the humor of the 1982 John Milius-Arnold Schwarzenegger version of the sword and sorcery epic "Conan the Barbarian" and you've got an idea what the new "Conan" is like.
    • 35 Metascore
    • 50 Roger Moore
    The one and only “Girl With the Dragon Tattoo” is in jeopardy again in Rupture, a sci-fi tale of terror and torture porn whose title just might be a pun on “Rapture.”
    • 77 Metascore
    • 50 Roger Moore
    Think of Marty as an R-rated Napoleon Dynamite — foul-mouthed, irritating, irritable, self-absorbed and clueless. He’s also a bit dangerous, the personification of the bird that gives his filmed story its title — Buzzard.
    • 53 Metascore
    • 50 Roger Moore
    Green, who once had a solid and arty indy cinema career going, cannot for the life of him hit the right tone, here. The film is waterlogged when it should be jaunty, and the cynicism and the sentimentality are kept at arm’s length.
    • 42 Metascore
    • 50 Roger Moore
    Burnt isn’t a bad movie, but the melodrama is overwrought and overdone, the romance warmed over and the “Cocktail” formula shaken, stirred and utterly played.
    • 50 Metascore
    • 50 Roger Moore
    As its quickly stumbles through its crimes and clues, A Kind of Murder leaves you with the uneasy feeling that a promising mystery has simply been designed to death.
    • 33 Metascore
    • 50 Roger Moore
    Brolin is so damned good in the saddle, in the hat and in the part that a half-sober viewer could half forget how half-arsed this movie he's starring in is.
    • 33 Metascore
    • 50 Roger Moore
    If you love exposition and shapely if bland young actors in leather, skinny jeans, knee boots, Goth cocktail dresses and heavy eye makeup, this may be the movie for you.
    • 38 Metascore
    • 50 Roger Moore
    Filmmakers John Erick Dowdle and Drew Dowdle (“As Above, So Below,” “Quarantine”) serve up a horrific string of “Sophie’s Choice” situations, in between the breathless chases and brutal violence.
    • 62 Metascore
    • 50 Roger Moore
    It’s “Avatar” simplistic, glib and dumb and not nearly as funny as they seem to think it is.
    • 53 Metascore
    • 50 Roger Moore
    Whatever its virtues, Eli is a movie that can’t help but suffer in comparison to the much-delayed and much better "Road."
    • 47 Metascore
    • 50 Roger Moore
    For what it is and for whom it is intended, it’s not a bad movie, just an indifferent one.
    • 41 Metascore
    • 50 Roger Moore
    When the Game Stands Tall is a solid if unsurprising and uninspiring melodrama.
    • 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.
    • 50 Metascore
    • 50 Roger Moore
    It has humor and a touch of charm, but plainly needed more love, more passion, more Shakespeare.
    • 35 Metascore
    • 50 Roger Moore
    While the filmmakers might have shot for "Midnight Run," but settled for "Due Date," they wound up only achieving "Guilt Trip." Identity Thief is sputtering long before that mid-movie moment when it turns all sentimental and goes off the rails.
    • 45 Metascore
    • 50 Roger Moore
    If this hits, and it could, we could see a whole new chapter in Heigl’s struggling, diva-damaged big screen career. No more frothy, ill-conceived romances, just scary Joan Crawford/Barbara Stanwyck/Bette Davis/Theresa Russell minxes, black widows and back-stabbers. Why couldn’t she become the movie woman America loves to hate?
    • 45 Metascore
    • 50 Roger Moore
    American Assassin is a Big Action Beats formula thriller that overstays its welcome and never quite gels around its hunky young star, allowing Michael Keaton to steal the movie out from under him.
    • 42 Metascore
    • 50 Roger Moore
    The most interesting character and performance come from the great Indian actor Iffran Khan (“Life of Pi,” “Jurassic World,” “The Lunchbox”). He brings a wonderful world weariness to this “dark money” criminal mastermind.
    • 56 Metascore
    • 50 Roger Moore
    Dawdling along as it does, Million Dollar Arm rarely shows us the “juice,” a baseball comedy that is as tentative as a base on balls.
    • tbd Metascore
    • 50 Roger Moore
    It all adds up to perfectly banal kids’ entertainment, with just a single decent plot twist, a few cute lines and a tried and a couple of trite and true messages — “Trust yourself” and “stop polluting” stand out.
    • 41 Metascore
    • 50 Roger Moore
    The central premise is a half-hearted retread. And the gags come from a score of earlier films and sitcoms.
    • 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.
    • 34 Metascore
    • 50 Roger Moore
    O’Loughlin is the very definition of comic dead weight. Imagine making Greg Kinnear carry half of "Baby Mama," or sending Tina Fey out with Matthew Fox on "Date Night" and you’ll get the picture.
    • 70 Metascore
    • 50 Roger Moore
    The conventions of the “fresh out of prison” drama are long-established. But they’re recycled, to good effect, in Chapter & Verse, a well-acted genre picture that suffers only from a chronic inability to surprise.
    • 68 Metascore
    • 50 Roger Moore
    Unwieldy, overlong and overly reliant on melodramatic coincidences, A Place in the Pines is still better than it has any right to be, thanks to its cast.
    • 50 Metascore
    • 50 Roger Moore
    For all its showmanship, Now You See Me has a lot less up its sleeve than it lets on.
    • 87 Metascore
    • 50 Roger Moore
    As a stand-alone film it flirts with utter incoherence.
    • 46 Metascore
    • 50 Roger Moore
    A broad, goofy primer on the not-quite-cutting-edge of consensual adult sexuality.

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