For 4,147 reviews, this critic has graded:
  • 42% higher than the average critic
  • 8% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 7.1 points lower than other critics. (0-100 point scale)

Roger Moore's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Dunkirk
Lowest review score: 0 Rogue Warfare
Score distribution:
4147 movie reviews
    • 54 Metascore
    • 50 Roger Moore
    F9
    I laughed at some of the lunacy, found myself checking my watch by the third act’s inevitable overkill. But if you can’t see the fun in Helen Mirren taking the wheel of a purple Nobler supercar and one-handing it — backwards — through the darkened streets of Olde London Towne, this isn’t for you.
    • 78 Metascore
    • 63 Roger Moore
    Coming to a too-obvious conclusion aside, if there’s a better minimalist parable for “living online,” I’m hard pressed to think of it.
    • 64 Metascore
    • 75 Roger Moore
    Give Leblanc credit, though. Any time you make a movie with well-played characters who compel the audience to want to shout at the screen, you’ve accomplished something.
    • 64 Metascore
    • 63 Roger Moore
    It’s more creepy than terrifying, more thought-provoking than we initially expect, although perhaps not as “deep” as the filmmakers’ intended.
    • 53 Metascore
    • 63 Roger Moore
    There is virtually nothing here we haven’t seen in a dozen similar movies, particularly that “Kramer vs. Kramer” parenting arc (one parental “indulgence” leads to disaster, etc.). But it’s perfectly watchable, maybe even for the entire family. Just keep a finger on the “mute” button whenever Lil Rel opens his mouth.
    • 94 Metascore
    • 88 Roger Moore
    Questlove, billed as Ahmir-Khalib Thompson here, has made one of the most entertaining concert films in years, a piece of Baby Boomer nostalgia that is thrilling and moving, jaw-dropping (those Pips get me, every time) and toe-tapping, and a history lesson, all rolled into one.
    • 71 Metascore
    • 50 Roger Moore
    Disney/Pixar’s animated “Luca” is “The Little Mermaid” without the heart, “Cloudy with a Chance of Meatballs” without the laughs. It’s a gorgeous-looking time-killer aimed at a very young and undemanding audience.
    • 43 Metascore
    • 38 Roger Moore
    Peter Rabbit 2: The Runaway is a curiously perfunctory affair, a laughless comedy based on the Beatrix Potter animal darlings of scores of dainty little books created when the world was less cynical.
    • 55 Metascore
    • 50 Roger Moore
    I’ve found Ferrara’s cryptic, navel-gazing bent of late both tedious and yet fascinating in what he’s trying to get across about where his head’s at when he makes this or that self-reflective film.
    • tbd Metascore
    • 38 Roger Moore
    So many movies about Mary Shelley and the writing of “Frankenstein,” and yet there’s always room for another bad one.
    • 32 Metascore
    • 63 Roger Moore
    Perhaps it’s out of date, but if anybody can make the “Latin Spitfire” stereotype cool, funny and scary again, it’s Hayek, who all but takes over the movie with her loud, brassy and delusional confidence.
    • 45 Metascore
    • 38 Roger Moore
    As a director, Roberts comes off as more of a producer. He can get a movie made, he’s just damned artless in making it.
    • 71 Metascore
    • 75 Roger Moore
    Al Zahrani, making her screen debut, holds our interest by not holding her temper. Maryam is young enough to be impatient, traditional enough to play by the rules and realistic enough to see the futility of it all.
    • 35 Metascore
    • 38 Roger Moore
    Rodriguez has to carry the picture, but hamstrung by the “reality” of the role, she only plays two notes — exhausted and manic.
    • 28 Metascore
    • 38 Roger Moore
    If Fuqua & Co. had taken a more askance view of this quintessentially goofy concept, they might have gotten an “Edge of Tomorrow” out of it, with Wahlberg and Ejiofor in on the joke. They didn’t, opting for “gonzo nonsense” that’s as watchable as it is forgettable.
    • tbd Metascore
    • 38 Roger Moore
    Movies like Upheaval are more propaganda than history.
    • 84 Metascore
    • 63 Roger Moore
    In the Heights doesn’t truly reach the heights, except when everybody’s on their feet.
    • 70 Metascore
    • 75 Roger Moore
    Drawling, florid Southern homosexuals who were “out” long before that was done, or safe to do, they make a fascinating, intensely quotable pair of wits in Truman and Tennessee: An Intimate Conversation, a documentary built on their relationship with each other, their art, their respective psyches, fame and the world they lived in.
    • tbd Metascore
    • 25 Roger Moore
    Dancing Queens kind of has it all. And by “all” I mean nothing much.
    • 46 Metascore
    • 38 Roger Moore
    Hero Mode isn’t interesting enough to stand on its own, despite manic efforts by Astin and an amusing line here and there.
    • 48 Metascore
    • 50 Roger Moore
    Spirit Untamed is almost exactly what anybody not nine would expect out of a feature film spun out of an animated TV show. Bland. Passable animation, but not “cutting edge,” not even on the blade. Simplistic story, maudlin “friends” and “teamwork” sentiment, dialogue that sounds generated by a “talk down to the kids” app.
    • 53 Metascore
    • 38 Roger Moore
    It’s the worst of the trilogy, beginning and ending as an over-the-top blunt instrument, pounding home the opening act exorcism and middling finale with breathless editing and a soundtrack amplified into a sledgehammer.
    • tbd Metascore
    • 38 Roger Moore
    You’ve got to meet this dopey desert slasher picture on its own terms. You have to be ready to laugh at the archetypes/stereotypes, the one-liners, the D-movie bravado.
    • tbd Metascore
    • 0 Roger Moore
    Without any “action” or compelling performances or any interesting thing at all — near kitchen accidents don’t count — what remains is a coma-inducing-dull “low budget B-horror movie without any discernible stars.”
    • tbd Metascore
    • 50 Roger Moore
    Sure, it’s a mixed-bag, sentimental and soft even as the story contrives to put the friends at odds, with deadly consequences. But Ghost Lab has flashes of style and wit that suggest we’ll be hearing more from this filmmaker, and that it could be fun.
    • 67 Metascore
    • 63 Roger Moore
    The stern star and fascinating if limited peek into the world of ratings, even in a period piece set in a more conservative time, makes Censor a horror title well worth a look, “video nasties” included.
    • 77 Metascore
    • 75 Roger Moore
    This German story, when it works, is fraught with the tension young people there recognize as the stakes in this struggle
    • 48 Metascore
    • 50 Roger Moore
    A single decent twist and a pleasant lump-in-the-throat finale are what you get for your time, here. Not much, but not a lot of family friendly movies do better.
    • 62 Metascore
    • 63 Roger Moore
    Ahead of the Curve does a decent job of summarizing a forty year blur in gay history and Stevens’ role in it as a spokeswoman for her sexuality and community on TV in the ’90s — “Power Dykes,” on the next “Geraldo!” — a pioneering publisher and a leader in the culture’s breathtaking shift in attitudes on sexuality, marriage and gender identity.
    • 59 Metascore
    • 50 Roger Moore
    There is never a moment I didn’t wholly buy into the Two Emmas and their delicious on-screen rivalry. But there isn’t a moment where you lean back, laugh and revel at what glorious fun this is, when it plainly could have been and should have been.

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