For 1,289 reviews, this critic has graded:
  • 55% higher than the average critic
  • 3% same as the average critic
  • 42% lower than the average critic
On average, this critic grades 1.2 points lower than other critics. (0-100 point scale)

Roger Moore's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 Magician: The Astonishing Life and Work of Orson Welles
Lowest review score: 12 Creature
Score distribution:
1,289 movie reviews
    • 69 Metascore
    • 75 Roger Moore
    As slight as Venus feels, it’s just titillating enough to matter, just twisted enough — Really, casting your wife and a guy who looks like you? — to suggest that even in his 70s, even with virtually no budget, Polanski can deliver a compelling walk on the kinky side.
    • 64 Metascore
    • 75 Roger Moore
    It’s good, not great, and it’s not Ayer’s fault that the rarer these B-movies become, the more we expect from them.
    • 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.
    • 76 Metascore
    • 75 Roger Moore
    Laugh-out-loud funny and production-designed to death, Guardians of the Galaxy pops off the screen.
    • 52 Metascore
    • 75 Roger Moore
    Aniston's work opposite the screen's premiere mild-mannered funnyman shows her at her most engaged and pitch perfect.
    • 52 Metascore
    • 75 Roger Moore
    Sweet, sentimental, silly and star-studded, Nanny McPhee Returns is one of the best children's movies of the year.
    • 78 Metascore
    • 75 Roger Moore
    A winking comedy with dark underpinnings and some of Shakespeare’s most wicked wordplay.
    • 74 Metascore
    • 75 Roger Moore
    Inception is an elegant, portentous ride, though I’m not sure Nolan is any closer to visualizing the real (dream) deal than Hitchcock was.
    • 64 Metascore
    • 75 Roger Moore
    Glass Chin is a boxing picture with very little actual boxing.
    • 51 Metascore
    • 75 Roger Moore
    Like "42," Cesar Chavez lacks the budget to feel truly epic in scope. The violence is scattered, shocking and personal, the struggles within the union muted but the outrage — is palpable.
    • 74 Metascore
    • 75 Roger Moore
    It’s manipulative and overlong, too loud and “Incredibles” action-packed for the very young. But the manipulation errs on the side of mercy, compassion, sacrifice and humanity.
    • 49 Metascore
    • 75 Roger Moore
    It is funny, and Redford, gracious as ever, makes a wonderful straight-man for a comic co-costar who has the face, voice and posture of a geezer who probably should have tackled this healing hike 20 years earlier.
    • 71 Metascore
    • 75 Roger Moore
    Run & Jump is an uncommonly offbeat and charmingly unconventional romance, an Irish comedy that lets itself get very serious, now and again, and is all the richer for it.
    • 81 Metascore
    • 75 Roger Moore
    Souffle-light and long on charm.
    • 51 Metascore
    • 75 Roger Moore
    A little more chaos might have truly lit this one up.
    • 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.
    • 64 Metascore
    • 75 Roger Moore
    It's a celebration of great old actors set in a world of once-great singers, and Hoffman's affection for them and the material shows in every frame.
    • 88 Metascore
    • 75 Roger Moore
    Exarchopoulos is a revelation, wearing her neediness, vulnerability and arousal with every muscle in her face, her posture, even her hair. It’s an utterly naked performance, literally and figuratively.
    • 69 Metascore
    • 75 Roger Moore
    As spy thrillers go, more chilling than thrilling. But that's what makes it easy to relate to.
    • 57 Metascore
    • 75 Roger Moore
    A movie franchise can only take us by surprise once, and by that measure, Iron Man 2 is a preordained letdown. But so much of what gave the first film its gas — is still here.
    • 41 Metascore
    • 75 Roger Moore
    Whatever twists this puzzle tosses at us, the film reminds us that a great actor, in close-up, telling a story with just her or his eyes, is still the greatest special effect the movies have to offer. This cast telling this story ensures us that nobody will be dozing off Before I Go to Sleep.
    • 57 Metascore
    • 75 Roger Moore
    Horror is all about that short-circuit the screen's technical manipulations cause in our brain, so this isn't high art. But Mama is easily the most moving, most chilling ghost story since "Insidious," an emotional tale efficiently and affectingly told.
    • 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.
    • 52 Metascore
    • 75 Roger Moore
    There’s something so delicious when Brits such as Thompson and Irons sink their fangs – sorry – into Deep South dialect. Thompson devours scenery, supporting players and dialogue with every “Bless your heart, shooo-gah” in the script, and Irons curls his non-existent mustache with every syrupy zinger.
    • 73 Metascore
    • 75 Roger Moore
    Ghost Protocol is the most action-packed, most jokey and self-aware, most James Bond-ish of all the Cruise Mission films.
    • 80 Metascore
    • 75 Roger Moore
    The documentary Room 237 is an ostensibly thoughtful deep reading, a deconstruction of Stanley Kubrick’s film of Stephen King’s 1980 novel “The Shining.” What it really is, is a bunch of obsessives obsessing about an obsessive movie maker’s obsessive movie.
    • 74 Metascore
    • 75 Roger Moore
    The fact that Bulger, at long last, is rotting in jail, is little consolation. Perhaps only a Hollywood version of this story, one starring Johnny Depp, can give it a satisfying conclusion.
    • 66 Metascore
    • 75 Roger Moore
    The fourth comic book movie of the summer is the best comic book movie of the summer. Johnston has delivered a light, clever and deftly balanced adventure picture with real lump in the throat nostalgia.
    • 78 Metascore
    • 75 Roger Moore
    They (Refn and Gosling) have collaborated on a car picture that unnerves us with its idling quiet, and then pins our ears back when they stomp the accelerator.
    • 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.

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