For 1,976 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 Black Swan
Lowest review score: 0 Mike Boy
Score distribution:
1976 movie reviews
    • 80 Metascore
    • 75 Roger Moore
    In Mary, Leigh has found the polar opposite of Sally Hawkin's giggle-through-the-pain heroine of "Happy-Go-Lucky."
    • 63 Metascore
    • 75 Roger Moore
    The first 25 minutes or so of this “Contagion” meets “28 Days Later” thriller will leave you breathless. And the rest of it serves up novel and often entertaining solutions to the various “zombie problems” that this over-exposed genre presents.
    • 48 Metascore
    • 75 Roger Moore
    A tricky thriller whose tricks are less important than its riveting leading lady.
    • 76 Metascore
    • 75 Roger Moore
    This compelling-acted film explains, better than any soundbite, why people have taken to the streets, "occupying" centers of finance. If their rage is unfocused, Margin Call suggests, that's with good reason. There are no real heroes or villains here, just human beings with human failings making BIG human mistakes.
    • 65 Metascore
    • 75 Roger Moore
    Branagh and Williams are worth the price of admission, the former "wunderkind" of British stage and screen having a go at the pretentious, plummy Olivier.
    • 82 Metascore
    • 75 Roger Moore
    This quick, short Sundance Film Festival award winner leaves out a lot more about Brinkley than in it includes. But save your trip to the library (or Wikipedia) for after the film. The surprises, comic and tragic, are worth waiting for.
    • 72 Metascore
    • 75 Roger Moore
    Cooper, to his credit, rarely flinches, never chest-thumps and never loses his cool, even when Kyle is starting to lose his. It’s a masterful interpretation of a man with a lot more on his mind and blood on his hands than he was ever inclined to let on. And it’s a performance worthy of Eastwood himself — 50 years ago.
    • 44 Metascore
    • 75 Roger Moore
    The cast, plainly packed with second or third choices, lets it down. Is there anything in James Franco’s past that suggests larger-than-life, a fast-talking, womanizing con-man? And the three witches – Theodora, Evanora and Glinda – are Bland, Blander and Blond Bland.
    • 47 Metascore
    • 75 Roger Moore
    Restless is far more precious than profound. But that takes little away from this soulful teenage exploration of love, life and death.
    • 62 Metascore
    • 75 Roger Moore
    The leads are charmingly mismatched, but adorable enough to root for, as a couple. Forestier is a wildly uninhibited actress, sexy as all get out. She makes this girl dangerous, seemingly capable of anything.
    • 76 Metascore
    • 75 Roger Moore
    Rene Russo is spot-on as Nina, an aging TV news director who is the only person Bloom will sell his footage to.
    • 66 Metascore
    • 75 Roger Moore
    The whole adds up to a charming portrait of the micro-fame and full, rich (not that rich) lives of the big actors who played little roles in the most carefully watched and memorized movie since “Citizen Kane.”
    • 55 Metascore
    • 75 Roger Moore
    Tom Hardy manages the brilliant trick of playing two physically, emotionally and intellectually distinct mobster brothers in Legend.
    • 54 Metascore
    • 75 Roger Moore
    It’s a charming, whimsical and ever-so-slight film, a bit of an over-reach but pleasant enough, even when it falls short.
    • 61 Metascore
    • 75 Roger Moore
    Beneath all the melodrama, beyond the fine performances, what sets At Any Price apart is the depiction of farming as it is today, the salesmanship, the traditions and ideals abandoned for greater profits and easier work and the ruthless world these patented “high yield” seeds have made.
    • 76 Metascore
    • 75 Roger Moore
    The Student makes a chilling allegory for the post-fact age (Russia invented it, remember), and a cautionary tale for cultures everywhere. There’s such a thing as being too tolerant of the intolerant.
    • 77 Metascore
    • 75 Roger Moore
    Chi-Raq is Spike Lee’s most audacious film in decades. DECADES.
    • 59 Metascore
    • 75 Roger Moore
    And so it does in the deft and delightful Elvis & Nixon, a short, quick and clever recreation of the how that came to pass and an imagined version of the conversation that could have taken place.
    • 69 Metascore
    • 75 Roger Moore
    The Armor of Light isn’t a mind-changing documentary. But Disney/Hughes’ film suggests that Schenck’s conversion is the beginning of an attempted unwinding of “a Faustian pact” (his words) between the NRA and evangelical Christianity.
    • 65 Metascore
    • 75 Roger Moore
    This is more “Iris” than “Frida” or “Seraphine,” though anyone who has ever seen the screen story of an artist — “Basquiat,” “Pollock,” etc. — will ease into the well-established rhythms of such films.
    • 64 Metascore
    • 75 Roger Moore
    It’s a blunt instrument of a movie, and often melodramatic. But it sometimes moves and often hits its target square on the nose.
    • 68 Metascore
    • 75 Roger Moore
    Chef is Favreau’s most personal film since “Swingers,” an overlong comedy full of his food, his taste in music, his favorite places and a boatload of his favorite actors.
    • 67 Metascore
    • 75 Roger Moore
    “Acreage” is so embedded in that earth you can taste it, smell the tobacco, cedar and slowly rotting corn stalks on those gently sloping hills.
    • 72 Metascore
    • 75 Roger Moore
    This is dizzy diverting fun, from it's first Carell one-liner to the 3D gimmick gags stuffed into the closing credits.
    • 76 Metascore
    • 75 Roger Moore
    Herzog asks if one and all if they think “the Internet dreams of itself”?
    • 67 Metascore
    • 75 Roger Moore
    An often hilarious/generally irreverent comedy.
    • 70 Metascore
    • 75 Roger Moore
    Happy Christmas, which is set around Christmas, shares several plot and thematic points with “Neighbors,” but without the aggression or belly laughs.
    • 65 Metascore
    • 75 Roger Moore
    It is a well-acted and vivid re-creation of a dark, downbeat era when "girls don't play electric guitar," and you had to be someone pretty tough and pretty special to try it.
    • 75 Metascore
    • 75 Roger Moore
    Leonardo DiCaprio’s most charismatic performance ever anchors Martin Scorsese’s robust and raunchy lowlifes-of-high-finance comedy The Wolf of Wall Street.
    • 68 Metascore
    • 75 Roger Moore
    The serene and forlorn snowscapes echo the Coen Brothers’ greatest movie, and the story evolves from quest to odyssey as Kumiko clings to her delusion and we start to wonder if maybe this loon isn’t onto something, that maybe the Coens WERE trying to tell us something. And only Kumiko and the Zellners figured that out.

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