For 2,041 reviews, this critic has graded:
  • 50% higher than the average critic
  • 4% same as the average critic
  • 46% lower than the average critic
On average, this critic grades 4.3 points lower than other critics. (0-100 point scale)

Roger Moore's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Black Swan
Lowest review score: 0 Mike Boy
Score distribution:
2041 movie reviews
    • 85 Metascore
    • 38 Roger Moore
    Glibly put, this challenging time-skipping rumination is the big screen equivalent of watching that "Tree" grow.
    • 78 Metascore
    • 38 Roger Moore
    The damned thing doesn’t play. The rube jokes fall flat, the complex caper doesn’t skate by the way the best of the “Oceans” pictures did. It’s “Masterminds” meets “Little Miss Sunshine,” with a heaping helping of Coen Brothers “Burn After Reading” contempt for its characters.
    • 76 Metascore
    • 38 Roger Moore
    10 Cloverfield Lane is built on the fear of an unknown that we know. Turns out, all that secrecy and hype and branding the “Cloverfield” name were not just this product’s marketing strategy. That’s all they had. Period...So, “Room” is still in theaters. It’s more harrowing, more terrifying, more thrilling and moving than Cloverfield Lane could ever hope to be. Go see that instead.
    • 73 Metascore
    • 38 Roger Moore
    Results is a comedy that never offers more than unsatisfactory ones — results, I mean.
    • 69 Metascore
    • 38 Roger Moore
    The Monster is as dull and predictable as its title, a creature feature in which the melodramatic flashbacks are the only bits with bite.
    • 67 Metascore
    • 38 Roger Moore
    The fun is in shorter supply. And all these gear-jamming chases and wince-inducing explosions cannot hide that this ride has long been on a road to nowhere.
    • 67 Metascore
    • 38 Roger Moore
    Somewhere is a triumph of tedium, banality passing for depth, a vacuous embrace of nothing.
    • 67 Metascore
    • 38 Roger Moore
    Overlong, polished but drab civics lesson of a comedy. This “Barbershop” is in sore need of a trim, and not just a little off the top, either.
    • 65 Metascore
    • 38 Roger Moore
    Mockingjay II is a bare bones finale — a tedious two hours in which nothing at all happens, with the briefest of breaks for a zombie chase and attack and a half-hearted bit of sci-fi combat.
    • 65 Metascore
    • 38 Roger Moore
    "Evil" fails to triumph. Utterly.
    • 65 Metascore
    • 38 Roger Moore
    When “Covenant” is not head-slappingly obvious and perfunctory, it’s just laugh-out-loud ludicrous.
    • 65 Metascore
    • 38 Roger Moore
    Entertainment is rife with randomness, shot through with misery and self-loathing and flat out unpleasant as a screen experience.
    • 64 Metascore
    • 38 Roger Moore
    This isn't satire, it isn't that funny and the only bits that work are the titillating ones.
    • 64 Metascore
    • 38 Roger Moore
    Dull, carnal, and explicitly so in both regards, it’s a slow-moving slog through one crushed soul as she relates the empty, passionless pursuits of her youth.
    • 64 Metascore
    • 38 Roger Moore
    This is as decrepit and tone-deaf as any movie he’s ever made, a corpse of a period piece, production-designed to the hilt, distractedly directed, a failure that hints at The End of Woody.
    • 62 Metascore
    • 38 Roger Moore
    The Void devolves into a creature feature.
    • 62 Metascore
    • 38 Roger Moore
    If you can’t get more than just a taste of terror from throwing half a dozen orphans into a haunted house, maybe your “universe” isn’t expanding at all and your “Creation” has run its course.
    • 61 Metascore
    • 38 Roger Moore
    The charm has aged right out of this silly stoner franchise.
    • 60 Metascore
    • 38 Roger Moore
    The settings are pristine, and feel about as real and lived in as “The Polar Express.” The performances have a stiffness that borders on motion-capture animation. Director Robert Zemeckis brings us a “Casablanca” without a scrap of heart, an “English Patient” with all of the splendor, and none of the heat.
    • 60 Metascore
    • 38 Roger Moore
    Give it up for Sandra Bullock and Melissa McCarthy. You’ll never see them work harder at a comedy than in The Heat, a stumbling, aggressively loud and profane cop buddy picture where they struggle to wring “funny” out of a script that isn’t.
    • 59 Metascore
    • 38 Roger Moore
    It never adds up to anything more than the mood Demeestere manages to translate from Franco’s fiction. Which makes Yosemite a “film festival movie,” nothing more than a promising idea or two and an interesting tone to recommend it.
    • 59 Metascore
    • 38 Roger Moore
    Buy the kids the soundtrack, skip the movie.
    • 59 Metascore
    • 25 Roger Moore
    Cars 3 surpasses “Monster University” as the dullest, dimmest Pixar movie ever.
    • 59 Metascore
    • 38 Roger Moore
    Shot Caller is an overlong brutally clumsy attempt to have it both ways.
    • 59 Metascore
    • 20 Roger Moore
    Director Zack Snyder choreographs this like a video game, emphasizing the body count over character.
    • 58 Metascore
    • 38 Roger Moore
    Sure, it’s basically one long testicles joke. But set your expectations low enough and you’ll find a laugh, here and there.
    • 58 Metascore
    • 38 Roger Moore
    It’s a psychological thriller built around two intense and graphic sex scenes, and a few other moments of expedient nudity. Mind games, stalking and graphic violence work their way in. But it’s the sex that seems to be the movie’s reason for being.
    • 58 Metascore
    • 38 Roger Moore
    A misshapen, aimless midlife crisis travelogue/romance with discourses on the the repression and inequity of Saudi Arabia, dating in the Islamic world and the nature of American/Chinese business competition, it’s the weakest Tom Hanks vehicle in decades.
    • 57 Metascore
    • 38 Roger Moore
    Daybreakers is a stylish but unavoidably silly sci-fi vampire thriller.
    • 57 Metascore
    • 38 Roger Moore
    A slight and somewhat demure romantic comedy/friendship comedy built around two mildly interesting characters.

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