For 1,719 reviews, this critic has graded:
  • 51% higher than the average critic
  • 3% same as the average critic
  • 46% lower than the average critic
On average, this critic grades 3.2 points lower than other critics. (0-100 point scale)

Roger Moore's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 12 Years a Slave
Lowest review score: 12 Creature
Score distribution:
1719 movie reviews
    • 69 Metascore
    • 75 Roger Moore
    As spy thrillers go, more chilling than thrilling. But that's what makes it easy to relate to.
    • 69 Metascore
    • 88 Roger Moore
    The Drop is a simmering thriller from the writer who gave us “Mystic River” and “Gone, Baby Gone,” a tale heavy with the weight of violence we know is coming.
    • 69 Metascore
    • 63 Roger Moore
    This isn't "Up in the Air," and we're not dealing with this awful event on a metaphysical level. But there's truth in between the cliches.
    • 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.
    • 69 Metascore
    • 88 Roger Moore
    Of all the gonzo-goofy comic book adaptations that embrace video gaming sensibilities, Scott Pilgrim vs. The World is the gonzo-goofiest.
    • 69 Metascore
    • 75 Roger Moore
    A moving and entertaining documentary about the young international volunteers who dashed to Israel in 1948 to create an Israeli Air Force.
    • 69 Metascore
    • 63 Roger Moore
    The wistful and poignant stuff doesn’t play as well as the surprising setbacks to romance, many of them delivered by the weirdly randy Sean at the most opportune times.
    • 69 Metascore
    • 63 Roger Moore
    It’s not bad, a solid “Hollywood” history of the 1830s Nat Turner slave revolt in Virginia with a love story, religion, injustices, torture and murder, a movie with middling, un-affecting acting but high artistic pretensions.
    • 69 Metascore
    • 63 Roger Moore
    A darker-than-dark British comedy.
    • 68 Metascore
    • 63 Roger Moore
    Pandering? Yes. But pandering with polish.
    • 68 Metascore
    • 63 Roger Moore
    The script, from a story by actresses Thomas and Reiner, is fiercely feminine and adept at juggling conflicting agendas and “needs.”
    • 68 Metascore
    • 75 Roger Moore
    As a Steve Carell comedy, it works. He plays the victim well, the guy romantically in over his head ever better. Surrounding him with people this funny - Ryan Gosling, who knew?
    • 68 Metascore
    • 75 Roger Moore
    Berg reminds us that even in the worst disaster, people can be selfless, heroic, and in the case of Aaron Dale Burkeen, professional even if those who gamble with their fates are not.
    • 68 Metascore
    • 75 Roger Moore
    The daft feather-light French farce Potiche is a period piece designed to remind us of just how far and how fast women have come in the Western world.
    • 68 Metascore
    • 63 Roger Moore
    The Conjuring is like a prequel to 40 years of demonic possession thrillers.
    • 68 Metascore
    • 63 Roger Moore
    The Meddler is a film of cute moments and the odd touching scene, which serve to interrupt the steady cavalcade of cliches.
    • 68 Metascore
    • 75 Roger Moore
    It’s a beautifully shot and reasonably balanced film, but one that struggles to find a hopeful note to end on.
    • 68 Metascore
    • 88 Roger Moore
    Jones tells this story with care and a lack of hurry, a pace to fit an age when people traveled no faster than two mules pulling a wagon could carry them. It’s “True Grit” and “The African Queen” with a moment of “Lawrence of Arabia,” period-perfect and a total immersion in this world.
    • 68 Metascore
    • 75 Roger Moore
    It’s too much a movie of “types,” and loses track of story elements that would seem important enough to warrant further exploration. The whole Christian conservative law-and-order mantle feels like a fuzzy afterthought on Jane, forgotten far too soon.
    • 68 Metascore
    • 75 Roger Moore
    The “banality of evil” was never so hypocritical, so banal and so evil.
    • 68 Metascore
    • 63 Roger Moore
    You’ll want to catch The Wave because it’s fun to see Hollywood disaster movie cliches rendered in Norwegian.
    • 68 Metascore
    • 63 Roger Moore
    Stretched to three hours, including a pointless (old fashioned) overture and intermission, does it live up to the “Cinema Event” Tarantino has hyped it as? Hell no. It’s just a minimalist Spaghetti Western suffering from auteur bloat — sometimes entertaining, with not even remotely enough story of action to support its insuperable length and gravitas.
    • 68 Metascore
    • 75 Roger Moore
    In Spanish with English subtitles, has a lovely, big budget sheen (Shlomo Godder was the cinematographer) and a cast that plays this as documentary real.
    • 68 Metascore
    • 63 Roger Moore
    The scenery is still stunning, but there’s little of the brio of a filmmaker who went on to make “Deliverance,” “Excalibur” and the glorious “Hope and Glory” in it.
    • 68 Metascore
    • 50 Roger Moore
    The whole movie...feels like an under-developed sketch that goes on for too long.
    • 68 Metascore
    • 75 Roger Moore
    It’s gorgeous, intimate and beautifully photographed. And it’s cute and kid-friendly, with just enough jokes to balance the drama that comes from any film that flirts with how dangerous and unforgiving The Wild actually is.
    • 68 Metascore
    • 63 Roger Moore
    It adds bubbles to the show, but doesn’t change the essentially deadpan, amusingly banal nature of this journey and the two charming old men who take it.
    • 68 Metascore
    • 50 Roger Moore
    Director Sebastian Cordero — he did the John Leguizamo journalism thriller “Chronicles” — serves up chilling and all-too-real ways to die in space and maintains tension even if suspense is in short supply in a tale told in flashback.
    • 68 Metascore
    • 75 Roger Moore
    Fort Bliss is a solid tough-adjustment-coming-home melodrama built around a superb performance by Michelle Monaghan.
    • 68 Metascore
    • 63 Roger Moore
    Reeves animates the action and the filmmakers surround him with wonderful co-stars; the quietly menacing McShane, the chop shop operator (John Leguizamo), the dapper “cleaner” (David Patrick Kelly of “The Warriors”) and the spitting, hissing Nyqvist.

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