For 1,558 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 2.3 points lower than other critics. (0-100 point scale)

Roger Moore's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Boyhood
Lowest review score: 12 Creature
Score distribution:
1558 movie reviews
    • 44 Metascore
    • 38 Roger Moore
    The sex sequences are revealingly awkward - with their "Don't try this at home" message. But without characters we can invest in, this "Hangover Meets Zack & Miri Make a Porno" is just the "porno," and entirely too tame for that, too.
    • 44 Metascore
    • 38 Roger Moore
    Whatever brownie points Tillman scored with "Notorious", Faster is that wake-up call that he's no John Woo.
    • 44 Metascore
    • 38 Roger Moore
    It aims for that “Hangover” blend of the sick and the sentimental. And it doesn’t work.
    • 44 Metascore
    • 38 Roger Moore
    It’s a vacuous affair, dull performances trapped in duller writing, ironically funny only when you take the writer’s words to be the screenwriter’s admission of guilt.
    • 44 Metascore
    • 38 Roger Moore
    If it weren’t for the well-intentioned moments of pathos — a tear or two, hear and there — Tio Papi would be a complete waste of time.
    • 43 Metascore
    • 25 Roger Moore
    Survival of the Dead lacks the wit of "Zombieland," the polish and punch of last winter's "The Crazies," a remake of a Romero zombie picture from the '70s.
    • 43 Metascore
    • 38 Roger Moore
    Sudeikis is well-cast as a bird whose “cardinal sin” is cynicism, but he has virtually nothing funny to say.
    • 43 Metascore
    • 38 Roger Moore
    Hallstrom and his low-heat stars can’t find the pulse of this corpse.
    • 43 Metascore
    • 38 Roger Moore
    For all the heists, chases and shoot-outs, it's a sluggish picture. Characters feel the need to stop the action to explain themselves. Thoroughly.
    • 43 Metascore
    • 38 Roger Moore
    This script, this leaden direction ensures that even as the teen wish-fulfillment fantasy, complete with young women playing dress-up, Monte Carlo fails.
    • 43 Metascore
    • 25 Roger Moore
    The eggshells the screenwriter and director walk on distance the story from the reality it aims to imitate. And that robs this tale of loss, grief and redemption of its punch.
    • 43 Metascore
    • 38 Roger Moore
    A crowded cast of some of the finest actors in the cinema act the hell out of a gimmicky, episodic, hit-or-miss script in Brooklyn’s Finest, Antoine Fuqua’s latest attempt to relive the glories of "Training Day."
    • 42 Metascore
    • 38 Roger Moore
    Despite the locations and the informative narrative, almost every scene is missing that spark that would bring the characters to life and immediacy to the story.
    • 42 Metascore
    • 38 Roger Moore
    Still waters may run deep, as the old saying goes. But Beside Still Waters there’s nothing deeper than “The Big Chill.”
    • 42 Metascore
    • 38 Roger Moore
    This thoughtful but windy and winded sci-fi thriller shortchanges the science – understandably - and the thrills. The directing debut of “Dark Knight” cinematographer Wally Pfister is a mopey affair with indifferent performances, heartless romance and dull action. It transcends nothing.
    • 42 Metascore
    • 38 Roger Moore
    A cast of no-names and a story so clunky it grinds gears every time it changes scenes take nothing from surprisingly effective (cheap) effects and the odd laugh-out-loud one-liner.
    • 42 Metascore
    • 38 Roger Moore
    Despite an epic fight or two, Parker robs us of the revenge, the suspense of the hunt, of Parker's methodical way of tracking down those who betrayed him, one by one.
    • 42 Metascore
    • 38 Roger Moore
    By playing it too safe, Daddy’s Home never finds that comic sweet spot and never rises above, “Well, it’s not awful.”
    • 42 Metascore
    • 38 Roger Moore
    It’s never more than a theme park that isn’t worth the price of admission.
    • 42 Metascore
    • 38 Roger Moore
    The characters in The Perfect Game speak old school “Hollywood Mexican.” In other words, they speak English with accents that we haven’t heard since the golden Age of Speedy Gonzalez.
    • 42 Metascore
    • 38 Roger Moore
    A ten-years-too-late comedy.
    • 42 Metascore
    • 25 Roger Moore
    Is it a spoiler to refer to the coda of thriller The Boy as the clumsiest cop out in recent horror history?
    • 42 Metascore
    • 38 Roger Moore
    The message delivered isn't subtle, with Kendrick delivering toss-away lines that suggest he doesn't even tolerate "the option" of divorce. But the bigger message might be that the Kendricks haven't sold out, "gone Hollywood" or watered down their Baptist beliefs based on efforts to reach an audience beyond the faithful.
    • 42 Metascore
    • 38 Roger Moore
    A few cheap jolts is all director Tom Harper can manage in this minimal gloom.
    • 41 Metascore
    • 38 Roger Moore
    Echoes of War needs prettier visuals and bigger ideas, because the dialogue is too formulaic and the violence to come is entirely too predictable to hold our interest for 100 minutes.
    • 41 Metascore
    • 38 Roger Moore
    A solid if occasionally silly B-picture of the sort that JCVD used to make, before “JCVD” suggested there might be more to him than mere “Muscles from Brussels.”
    • 41 Metascore
    • 38 Roger Moore
    A few frights pay off, but most don’t. The performances are TV-series flat — designed for close-ups.
    • 41 Metascore
    • 38 Roger Moore
    Mostly, it’s just a clumsy lecture about who we’re becoming, haves vs have-nots, with the haves armed to the teeth.
    • 41 Metascore
    • 38 Roger Moore
    A little Kevin Hart goes a long way in Ride Along, a dull buddy picture engineered as a vehicle for the mini motor mouth and the perma-sneering Ice Cube.
    • 41 Metascore
    • 38 Roger Moore
    It works, here and there, and Polaha is perfectly believable as an ex-jock and ex-jerk who lets a little child lead him out of the darkness.

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