For 411 reviews, this critic has graded:
  • 53% higher than the average critic
  • 2% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 0 points higher than other critics. (0-100 point scale)

Roger Moore's Scores

  • Movies
Average review score: 59
Highest review score: 100 Get Low
Lowest review score: 12 Creature
Score distribution:
411 movie reviews
    • 32 Metascore
    • 38 Roger Moore
    A slick one hour and 50 minute version of those political convention hagiographies ("A Man From Hope"), so it's not exactly an objective take on its subject, former Alaska governor and vice presidential candidate Sarah Palin.
    • 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.
    • 50 Metascore
    • 38 Roger Moore
    This isn't the worst of the bunch, not by far. But my premonition is this won't be the finale this series has screamed out for these past few years. This decapitation train never seems to reach its destination.
    • 37 Metascore
    • 38 Roger Moore
    Nobody has much that's funny to say or cool to do. Even the spy gadgets are lame.
    • 45 Metascore
    • 38 Roger Moore
    As straight exploitation, it's amusing, in fits and starts. It's just that Colombiana lacks the kinetic energy of "The Transporter" and the pathos of "La Femme Nikita."
    • 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.
    • 24 Metascore
    • 38 Roger Moore
    Whatever merits the production values have, the cheap frights don't deliver, the performers bring no pathos and the gimmick behind Apollo 18 flat out does not work.
    • 45 Metascore
    • 38 Roger Moore
    An exploitation picture built on redneck cliches and big city liberal outrage, it's not all bad. But it is a pretty unpleasant wallow in the obvious.
    • 65 Metascore
    • 38 Roger Moore
    "Evil" fails to triumph. Utterly.
    • 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.
    • 35 Metascore
    • 38 Roger Moore
    Anna Faris and Chris Evans don't have enough scenes together, don't have enough funny lines and aren't surrounded by enough funny people to give this "Bridesmaids-lite" a shot.
    • 35 Metascore
    • 38 Roger Moore
    So much is just so…obvious.
    • 49 Metascore
    • 38 Roger Moore
    It's an infuriatingly static picture - actors walking around when they should be running, ruminating when they should be panicking, generally failing to convey fear and pick up the pace.
    • 17 Metascore
    • 38 Roger Moore
    Give it points on setting and a couple of the performances, but the joke-starved All's Faire in Love only rarely rises to the level of fair to middling.
    • 46 Metascore
    • 38 Roger Moore
    "English Reborn" isn't terrible and is certainly seriously harmless.
    • 37 Metascore
    • 38 Roger Moore
    The Double is barely half the movie it had the potential of becoming.
    • 36 Metascore
    • 38 Roger Moore
    It's all very messy and entirely too obvious at the same time. Montiel makes the most of his settings, but the story keeps staggering into dead ends.
    • 61 Metascore
    • 38 Roger Moore
    The charm has aged right out of this silly stoner franchise.
    • 23 Metascore
    • 38 Roger Moore
    Then there's Pacino, out-of-place and yet somehow right at home. You want big? Al does BIG. And since is as close as we're likely to get to "Don Corleone Does Don Quixote," that alone is worth the price of admission.
    • 46 Metascore
    • 38 Roger Moore
    The film manages one grand "300″ moment, Cavill rallying troops for battle, doing his best Gerard Butler. But the lack of humor, the confusing, stumbling story and limited color palette blunt the film's 3D slo-mo shots of heads exploding and torsos torn asunder by the sword.
    • 45 Metascore
    • 38 Roger Moore
    At long last, The Twilight Saga sinks utterly into camp with Breaking Dawn: Part 1.
    • 32 Metascore
    • 25 Roger Moore
    Profane, profanely silly and blasphemous to beat the band, Legion begins well before plunging into the abyss of tedium.
    • 27 Metascore
    • 25 Roger Moore
    Limp and lifeless, this Next Door neighbor should be evicted to DVD.
    • 40 Metascore
    • 25 Roger Moore
    The film’s tone is all wrong, the pacing is dead and the veering between sex, sadness and sado-masochistic violence is enough to give you motion sickness. It’s a bad movie.
    • 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.
    • 20 Metascore
    • 25 Roger Moore
    This colossal folly, the fiasco of the summer of 2010 - gives us all a ringside seat at the sight of Mr. "I See Dead People's" career gurgling down the drain.
    • 18 Metascore
    • 25 Roger Moore
    If Kristen Stewart ever saw Vampires Suck, she'd be scarred for life.
    • 37 Metascore
    • 25 Roger Moore
    It's a humorless movie of morphing zombies (they take on beastly attributes), phoned-in performances and trite dialogue.
    • 25 Metascore
    • 25 Roger Moore
    This waking nightmare from the "Nightmare on Elm Street" creator is a puzzle with no solutions, a tale with a twist that isn't a twist at all.
    • 26 Metascore
    • 25 Roger Moore
    Skyline plays like an effects guru's resume reel, not a movie.