For 1,150 reviews, this critic has graded:
  • 57% higher than the average critic
  • 2% same as the average critic
  • 41% lower than the average critic
On average, this critic grades 0.4 points lower than other critics. (0-100 point scale)

Roger Moore's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 Dallas Buyers Club
Lowest review score: 12 Creature
Score distribution:
1,150 movie reviews
    • 62 Metascore
    • 75 Roger Moore
    It’s the directing debut of Angus MacLachlan, who wrote “Junebug” and thus gave Amy Adams the perfect introduction to the world. “Goodbye” displays the same canny ear for human interactions, both comical and confessional.
    • 64 Metascore
    • 75 Roger Moore
    Fright Night can also boast of having the best vampire-villain in ages. The bushy-browed Colin Farrell was BORN to wear fangs.
    • 74 Metascore
    • 75 Roger Moore
    "It was a perfect tabloid story," the Brit Peter Tory, who covered it, remembers. "Kinky sex, religion, kidnapping, a beauty queen."
    • 54 Metascore
    • 75 Roger Moore
    It's a little racy for our "High School Musical" set. But Bran Nue Dae (say it out loud) will play anywhere fans like a musical so cute you want to pinch its cheeks.
    • 75 Metascore
    • 75 Roger Moore
    Steven Soderbergh, rightly considered one of Hollywood’s smartest movie makers, is at his cleverest in Side Effects, a canny, cunning big idea thriller in a minor key, an engrossing zeitgeist whodunit about Wall Street, Big Pharma, prescription drugs and the power we give psychiatry and psychologists.
    • 83 Metascore
    • 75 Roger Moore
    Gloria has a palpable loneliness about it, and Garcia makes us feel that and fear the emptiness that is staring Gloria in the face. Not a lot happens in this closely-observed character study, but few recent movies have dared to show this stage of life, the creeping solitude that memories of your disco past cannot fend off.
    • 59 Metascore
    • 75 Roger Moore
    A winning "Robin Hood and his Merry Doormen" comedy about getting even. A cast of comedy specialists each deliver their comic specialties to perfection, delivering double-takes and one liners so well that you don't notice how clunky the actual caper in this caper comedy is.
    • 57 Metascore
    • 75 Roger Moore
    Has a lot of that winking wit we've come to expect from our post-"Spider Man" Marvel movies. It has a hunky, self-mocking young star, solid support from a couple of Oscar winners and the slick sheen that state-of-the-art effects can give you.
    • 50 Metascore
    • 75 Roger Moore
    The reporter/convict dynamic doesn’t have enough layers to carry the film without some hint of mystery. The relationship between the two, chilling as it is, never raises this “Story” from generic to profound.
    • 62 Metascore
    • 75 Roger Moore
    42
    Earnest, righteous, historically accurate and often entertaining.
    • 74 Metascore
    • 75 Roger Moore
    Farmiga directs and plays this as a woman with questions. Thus, the tone is a bit all over the place - frank discussion and depictions of sex, but with an equally frank embrace of Christianity, talking the talk and walking the walk.
    • 74 Metascore
    • 75 Roger Moore
    Days of Future Past is most everything we’d hoped the summer’s earlier popcorn pictures would be, most of all — fun.
    • 72 Metascore
    • 75 Roger Moore
    The gorgeous flora and fauna of Sri Lanka are well-represented, even as the monkey business ranges from cute to cutesy.
    • 78 Metascore
    • 75 Roger Moore
    Take that sign at the entrance to his Tulbagh, South Africa compound seriously – "Beware of Mr. Baker."
    • 73 Metascore
    • 75 Roger Moore
    A simple tale, sharply drawn and smartly told, a portrait of a people, a place and a centuries-old conflict that this wise yet myopic citrus farmer cannot get his mind around any more than we can.
    • 50 Metascore
    • 75 Roger Moore
    Perry's great gift to this unfilmable play is getting it on the screen, his sharp eye for casting and his evident affection and sympathy for black womanhood, even in movies in which he doesn't don a dress.
    • 66 Metascore
    • 75 Roger Moore
    Director Omid Nooshin gives this story harrowing touches largely through arresting camera angles and aggressive editing. He ensures that “Last Passenger” features a couple of jaw-dropping moments even as it traverse familiar ground.
    • 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.
    • 71 Metascore
    • 75 Roger Moore
    This comedy produces the biggest, loudest laughs of any movie this summer.
    • 45 Metascore
    • 75 Roger Moore
    Robert Duvall may be 83, but he’s still up to playing a real Texas hell raiser on the screen. He can hold his own with bad hombres.
    • 65 Metascore
    • 75 Roger Moore
    The mercurial Brand is spot on as the mercurial Aldous, putting over outrageously titled tunes with panache.
    • 66 Metascore
    • 75 Roger Moore
    Greatest Movie isn't Spurlock's best. It plays like an overlong, overly cutesy TV news report (woman and man on street interviews included) on product placement.
    • 59 Metascore
    • 75 Roger Moore
    A first-rate one-woman-against-the-system drama.
    • 55 Metascore
    • 75 Roger Moore
    A most romantic way to spend your time at the movies this fall, a “date picture” about do over dates that works, this time around.
    • 70 Metascore
    • 75 Roger Moore
    Forbes makes this story compelling, moving and provocative enough to prompt outrage.
    • 68 Metascore
    • 75 Roger Moore
    It isn’t “The Ten Commandments” and Crowe is no Charlton Heston. But Noah makes Biblical myth grand in scope and intimate in appeal. The purists can always go argue over “God Isn’t Dead.” The rest of creation can appreciate this rousing good yarn, told with blood and guts and brawn and beauty, with just a hint of madness to the whole enterprise.
    • 79 Metascore
    • 75 Roger Moore
    Simien focuses too much on the character played by his star, Williams, which seems a mistake. Scenes are underscored with classical music chestnuts, a trite way of suggesting “academia.” And the ending is an eye-roller.
    • 58 Metascore
    • 75 Roger Moore
    A well-crafted documentary variation on "Defiance," Ukrainian Jews saving themselves by going underground -- literally.
    • 74 Metascore
    • 75 Roger Moore
    In French with English subtitles, is a showcase for Anne Dorval in the title role. Over the course of this overlong melodrama she wins our understanding and occasionally our sympathy as she struggles to get and keep a job, find a man and keep her maddening, monster of a son (Antoine-Olivier Pilon) under control.

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