For 1,982 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 Get Low
Lowest review score: 0 Mike Boy
Score distribution:
1982 movie reviews
    • 81 Metascore
    • 63 Roger Moore
    Rock is more a genial presence here than an actor playing an addict tested by a bad day. He never lets us see the strain that could make him fall off the wagon. He scores laughs, but generously leaves the outrageous stuff to his legion of supporting players.
    • 81 Metascore
    • 75 Roger Moore
    Locke will hold your interest as it presents a side of the burly, bluff “Dark Knight” villain we have never seen before on screen.
    • 81 Metascore
    • 88 Roger Moore
    Long, patient and chilling, it vividly captures a time in America and the feel of divided Berlin in the muted blues and greys that color our memories of that “duck and cover” age.
    • 81 Metascore
    • 88 Roger Moore
    A dialogue-free romp that is a shear delight, shear perfection, if not quite a master-fleece.
    • 81 Metascore
    • 88 Roger Moore
    Carell, though, is the real shock to the system here. He is quirky, queer in the old fashioned sense, and pathetically funny.
    • 81 Metascore
    • 75 Roger Moore
    No
    Here’s a fascinating piece of history that escaped much of the world’s notice, when it happened back in 1988.
    • 81 Metascore
    • 88 Roger Moore
    Portman lets us feel the way her loss utterly empties life of meaning and purpose. But Chilean director Pablo Larrain (“The Club”) lets little John Jr. (Aiden and Brody Weinberg) provide the heart-wrenching release, just as he did back at that state funeral in 1963.
    • 81 Metascore
    • 88 Roger Moore
    The Big Short becomes not just amusing and explanatory, a real tour de force for its fast-talking cast.
    • 81 Metascore
    • 100 Roger Moore
    A moving, hilarious and stunningly-animated adventure epic.
    • 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
    • 88 Roger Moore
    Skyfall is far and away the best, and the most British of the Daniel Craig-James Bond movies.
    • 81 Metascore
    • 75 Roger Moore
    One serious omission in the film - identifying what these seemingly prosperous alumni of the band do for a living and did with their lives.
    • 81 Metascore
    • 75 Roger Moore
    The scruffiness is intentional and the film has that conventional search for heroes and heroines — who to follow, single-out and build the movie around. But Whose Streets? also lets us see how citizens journey from outrage to action, from passivity to protest to influencing public policy, just by standing up and saying “Enough!”
    • 81 Metascore
    • 63 Roger Moore
    Anderson loses his way, failing to thin out the novel and its overload of characters, piling scene upon scene that neither amusingly complicates the plot, nor advances it. Phoenix, however, is never less than fun.
    • 81 Metascore
    • 75 Roger Moore
    Souffle-light and long on charm.
    • 81 Metascore
    • 75 Roger Moore
    Tobias Lindholm’s film has documentary realism even in its more melodramatic moments.
    • 81 Metascore
    • 75 Roger Moore
    This is a movie that floats by on dazzlingly silly banter and well-slung slang.
    • 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.”
    • 81 Metascore
    • 75 Roger Moore
    The film is more overwhelming than uplifting.
    • 80 Metascore
    • 75 Roger Moore
    The coolest sequences in the film are its first third, with Watney’s communication cut off and NASA unaware he’s there.
    • 80 Metascore
    • 75 Roger Moore
    Incendies is occasionally compelling, but also overlong and vexing in the ways it draws out a "shocking" conclusion that we unravel long before the characters do.
    • 80 Metascore
    • 75 Roger Moore
    The film’s unblinking and unfiltered look at the indignities and horrors of ALS and its impact on a loving marriage is without parallel.
    • 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.
    • 80 Metascore
    • 75 Roger Moore
    John Cusack plays this older, post-breakdown Wilson, a twitchy, tentative millionaire genius who has the guilelessness and sweetness of an abused puppy.
    • 80 Metascore
    • 75 Roger Moore
    The vast majority of us are so far removed from any common farming past that we idealize it and the people who live that lifestyle. Peter and the Farm is a sober reminder of how hard and callous that life is, and will come as a shock to anybody with romantic dreams of “chucking it all” to live off the land.
    • 80 Metascore
    • 75 Roger Moore
    Matt Damon is an interesting, chatty choice to play Laboeuf.
    • 80 Metascore
    • 88 Roger Moore
    There are people, powerful people, who don't want old cases dug up. It's a tribute to the story's construction that the mystery only deepens, the more Benjamin digs.
    • 80 Metascore
    • 75 Roger Moore
    Maysles could have made this another “Grey Gardens,” seeing Apfel as just a well-heeled hoarder. But Apfel never comes off as eccentric, just singular.
    • 80 Metascore
    • 75 Roger Moore
    Pattinson, who never lets on that he’s wearing an alien accent, gives Connie just a hidden hint of charm.
    • 80 Metascore
    • 75 Roger Moore
    A wonderful movie anyone who's ever experienced dog ownership at its most glorious, and most embarrassing.

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