For 3,690 reviews, this critic has graded:
  • 43% higher than the average critic
  • 6% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 6.6 points lower than other critics. (0-100 point scale)

Roger Moore's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 The Nightmare Before Christmas
Lowest review score: 0 Emerald Run
Score distribution:
3690 movie reviews
    • tbd Metascore
    • 38 Roger Moore
    As somebody who’s long complained that faith-based dramas need a firmer footing in the real world, and maybe a little edge, it pains me to complain that Sno Babies takes such things entirely too far.
    • tbd Metascore
    • 50 Roger Moore
    This “virtual” instead of “real” world, with its toxic environment and compliant, drugged and plugged-in populace, feels insanely topical at times.
    • 66 Metascore
    • 75 Roger Moore
    Brown is the marvel-in-motion who powers this machine. She lets this showcase make the case for a post-child-actress career, showing off pluck, comfort with stunts and something her chilly TV series rarely allows her — charm.
    • 52 Metascore
    • 63 Roger Moore
    This is more worth seeing for Olin and Dern’s tetchy and touching interactions, portraying a marriage of devotion and decay. Every filmmaker who preaches that “Casting is everything,” or 90 percent of everything, isn’t exaggerating. The Artist’s Wife proves it.
    • tbd Metascore
    • 38 Roger Moore
    Pets United could struggle a bit even to keep a toddler distracted for 92 minutes.
    • tbd Metascore
    • 38 Roger Moore
    Here’s a German comedy stuffed with cutesy touches but little else, a madcap scamper from start to finish that still feels static and kind of staid, and a gorgeous character who’s meant to be funny, but who makes you wish our heroine would break a damn bottle over her head.
    • 93 Metascore
    • 75 Roger Moore
    Kapsalis has written and directed an engrossing “woman on the verge” tale. But it is Azura Skye who draws us into it, earns our sympathy and makes us fear for how far this woman will be pushed before she pushes back, or snaps altogether.
    • tbd Metascore
    • 63 Roger Moore
    They’ve made an uneven melodrama that’s easier to get behind than to endorse for its cinematic realism. But I will. Maybe for old time’s sake.
    • tbd Metascore
    • 38 Roger Moore
    The wheels come off Shortcut pretty much the moment the kids have to flee that bus.
    • tbd Metascore
    • 75 Roger Moore
    That whole dynamic, that the child is preordained to greatness or mediocrity by blood and birth, is undercut in the film. It’s either troubling or amusing to consider, seeing as how this story all takes place in a land whose dominant culture lives as self-described “chosen people.”
    • tbd Metascore
    • 63 Roger Moore
    The muted tone and funereal gloom that linger in the film gives it a mortician’s remove. We aren’t necessarily moved by this tragedy and the ways those who survived contributed to it or failed to avert it.
    • 79 Metascore
    • 75 Roger Moore
    Law can still make us smell the sweating his characters do when they’re gambling, striving and hoping like hell to keep all the balls they’re juggling in the air just a few moments longer.
    • 54 Metascore
    • 50 Roger Moore
    A little mystery and a lot less narration would have better-served this sordid saga.
    • 63 Metascore
    • 50 Roger Moore
    H is for Happiness prioritizes ”feels” over coherence, weird-for-weird’s-sake touches over character development, while expecting endless voice-over narration to caulk over the cracks. It doesn’t.
    • tbd Metascore
    • 50 Roger Moore
    The villains are mild-mannered archetypes, and thus never fool us for a second.
    • tbd Metascore
    • 25 Roger Moore
    NONE of these vignettes are funny. None. Cryptic and revealing? Nope. I’m giving this one star for the decent indie cinema production values, and out of pity for the actors.
    • 81 Metascore
    • 75 Roger Moore
    The bleak outlook of this story won’t be to every taste. But Residue brings a painful beauty to a real-life “whitewashing” of a city that will never let you look at gentrification from a realtor’s point of view ever again.
    • 54 Metascore
    • 63 Roger Moore
    Director Roger Michell (“Venus,”Notting Hill”) cast this well and earns stellar on-the-nose performances from Sarandon, Wilson, Duncan and Wasikowska.
    • tbd Metascore
    • 38 Roger Moore
    It’s harmless enough. Still, the only reason to watch it is if you and/or the kids need to brush up on your Spanish.
    • 68 Metascore
    • 50 Roger Moore
    Doucouré brings a much-needed new perspective and new voice to the cinema. But this doesn’t have the depth or grim impact of a “Kids” (1995) or “thirteen” (2003).
    • tbd Metascore
    • 50 Roger Moore
    It’s a chatty, over-populated comedy that sprints out of the gate and gets gassed about an hour in. Its tragedy is that Cuenca chose to drag out this shambolic slice-of-the-scruffy-life out for another hour after that.
    • 22 Metascore
    • 25 Roger Moore
    Some of the effects are OK, and the night shots around the lake show some sophistication. But the script is utter crap, the performances pro forma and the “threat” even sillier, if bloodier, than it was last time around.
    • 79 Metascore
    • 75 Roger Moore
    The detail, the worn-out wooden boat that is the main location, is perfect. And the calming effect of the sea is utterly spoiled by the tension that’s always there. Daily routine aside, every encounter with the pitiless crew is fraught with peril, and the violence when it comes — is shocking, primitive and sadistic.
    • 59 Metascore
    • 88 Roger Moore
    There have been a lot of documentaries about Donald Trump and Donald Trump’s America, and more will show up between now and election day 2020. But the only one on that subject that strikes me as “essential viewing” is Red, White & Wasted, an eye-opening peek into the psyche, intellect, folkways and values of “the Trump base” we hear so much about these days.
    • 78 Metascore
    • 88 Roger Moore
    Social Dilemma is a good film, probably too little too late to play a role in saving democracy or healing a nation so divided half of it won’t do the most basic things to stop a pandemic. But there you are, and there we are.
    • 45 Metascore
    • 50 Roger Moore
    As screenwriters, their First Best Destiny might be keeping a script doctor on speed dial. Their “mystery” isn’t nearly mysterious enough. And that three act structure makes for a grim, distressing and lumbering opening, a tense and bloody finale and a middle act — the one set in the modern day that “explains” what’s going on — that is as straight-up hackwork, a Tyler Perry fashion show meant to add dread but where rolling one’s eyes is the only proper response.
    • 57 Metascore
    • 50 Roger Moore
    Even if it plays like a sitcom pilot that might get picked up after a little recasting, “Broken Hearts Gallery” is never unpleasant and only rarely a drag. In rom-com starved Hollywood, call that a “win” and call it a day.
    • 56 Metascore
    • 63 Roger Moore
    It’s not a great film, with a story that has too much “Lifetime Original Movie” slack and soap operatic touches for its own good. But as Jerry Wald says, “It’s all about timing.”
    • 43 Metascore
    • 38 Roger Moore
    What we have here in the disastrously dull pilot to a TV series only comic book diehards would watch.
    • 70 Metascore
    • 63 Roger Moore
    Alone still takes a simple premise and smacks us around with it for 95 reasonably suspenseful, thrilling minutes. And that’s enough.

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