For 2,036 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 The Social Network
Lowest review score: 0 Mike Boy
Score distribution:
2036 movie reviews
    • 90 Metascore
    • 50 Roger Moore
    Anybody familiar with Jarmusch’s work will recognize his static style — the muted long conversations, the quiet, the storytelling largely lacking in incident, melodrama or narrative drive. Longtime fans will wonder where the humor is.
    • 88 Metascore
    • 50 Roger Moore
    Alternately daring and dull, inventively animated, intimate and yet impersonal, it’s challenging enough to turn off most.
    • 87 Metascore
    • 50 Roger Moore
    As a stand-alone film it flirts with utter incoherence.
    • 86 Metascore
    • 50 Roger Moore
    Little Men doesn’t come to grips with much of anything, leaving relationships and questions of sexuality and even Leonor’s uncertain future uncertain.
    • 86 Metascore
    • 50 Roger Moore
    It’s all pretty enough, but this is lesser Ghibli, more a “Borrowers” than a “Ponyo,” an animated bauble as hollow as a turtle shell purse.
    • 83 Metascore
    • 50 Roger Moore
    Everybody Wants Some!! is just Linklater showing he can still summon up the immaturity to do a film like the ones he did when he had no name, no polish and was just starting out...This is the sort of movie he’d have made had he never grown as a filmmaker, if he’d only been a one-trick indie cinema pony, like Kevin Smith. And the world has already decided one Kevin Smith is more than enough.
    • 82 Metascore
    • 50 Roger Moore
    At this stage of this saga, you kind of know where it’s going and which emotional buttons will be punched, the ones I predicted way back in 1984 with my little "IV-I.V.” crack. Another two hours and 13 minutes of it, even with decent “Rocky” style (roundhouse punch after roundhouse punch) is hardly merited.
    • 82 Metascore
    • 50 Roger Moore
    To me, it’s just another “Jurassic World,” technology and production design on a whole new plane, story, dialogue and characters that we’ve seen before (too often), the entire hyped and over-rated enterprise half-forgotten before it hits Netflix.
    • 82 Metascore
    • 50 Roger Moore
    More a movie that you appreciate and ponder than one you embrace and enjoy. Whatever its intellectual pretensions, I am looking forward to never seeing it again.
    • 81 Metascore
    • 50 Roger Moore
    Beware of any advertising that labels Andersson “wacky” and this a comedy. Even by deadpan Swedish standards, this is pretty dry.
    • 81 Metascore
    • 50 Roger Moore
    The Force Awakens boils down to a couple of genuine lump-in-the-throat moments, and those are due to nostalgia. The rest? Seen it, done it, been there, and remember it — even though it was “a long time ago.”
    • 80 Metascore
    • 60 Roger Moore
    Casino Royale is just swell when Bond is busting up bathrooms in Prague, busting up embassies in Madagascar and busting a move in Nassau. But when he gets to, well, Casino Royale (here, in the former Yugoslav Republic of Montenegro), the film goes utterly flat.
    • 79 Metascore
    • 50 Roger Moore
    It has maddeningly unsatisfying theological debates, scrupulous though myopic period detail and an utter lack of narrative drive.
    • 79 Metascore
    • 50 Roger Moore
    The scenery is startling and the cinematography by Todd McMullen striking.
    • 78 Metascore
    • 50 Roger Moore
    Those scenes with Letts are worth the price of admission, even if the movie overall drags, dry and not nearly as droll as Roth must have intended.
    • 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.
    • 77 Metascore
    • 50 Roger Moore
    Coppola stripped the tale, cut the length, eschews menace and goes easy on the malice, which made the earlier version of the story work. Even as an arch, serio-comic female revenge fantasy, this Beguiled fails to cast the necessary spell.
    • 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.
    • 75 Metascore
    • 50 Roger Moore
    Fitfully amusing or not, the whole demented enterprise of Rango comes into question when you're that tone-deaf about what's appropriate for children.
    • 75 Metascore
    • 50 Roger Moore
    The novelty of having a real homeless junkie play a version of herself drives Heaven Knows What, a gritty hand-held character portrait of heroin addict life in New York today.
    • 75 Metascore
    • 50 Roger Moore
    There’s a “for fans only” feel to the latest “Avengers” movie, Captain America: Civil War, that won’t be to every taste. A talky, often ponderous exercise in comic book movie elephantiasis, it overdoses on characters, old and new, sometimes not even bothering to name them.
    • 75 Metascore
    • 50 Roger Moore
    Jokier and more obviously derivative, Mission: Impossible-Rogue Nation is the funniest “MI” picture, and maybe the worst of the series.
    • 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.
    • 73 Metascore
    • 50 Roger Moore
    But pretending this is anything other than pleasant, time-killing filler for the next Marvel marvel is laughable. Changing up the story removes some of the onus of comparison to the first Tobey Maguire/Sam Raimi “Spider-Man.” Not when it comes to romance, suspense, guts and heart, however.
    • 72 Metascore
    • 50 Roger Moore
    The two sisters one is the cleverest, the two albinos one the most unfathomable and “The Flea” the least inscrutable. See it for the eye candy, the vivid recreation of an Italian “Once upon a time,” all of it done without computers and digital fakery.
    • 72 Metascore
    • 50 Roger Moore
    When the Coen Brothers miss, they miss with gusto. Images of Babe Ruth, swinging and collapsing in a heap from the effort come to mind.
    • 72 Metascore
    • 50 Roger Moore
    It's a movie of thematic dead-ends. Director Azazel Jacobs and writer Patrick DeWitt give us a slow SLOW and somewhat morose tale that isn't remotely funny or profound enough to sustain that pace and tone.
    • 71 Metascore
    • 50 Roger Moore
    “The Raid” was a great action film in which the violence, excessive though it was, served as obstacles in the hero’s simple quest. In Raid 2 the violence is the movie, its excess used to cover for an inept story, thinly-drawn characters and dead spots.
    • 71 Metascore
    • 50 Roger Moore
    The players utterly inhabit their banal characters, but Hartigan only delivers a couple of scenes that merit all this attention to detail.
    • 70 Metascore
    • 50 Roger Moore
    It’s like “Girls” with more funky New York locations, but with less sex, and with fewer laughs.

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