For 4,993 reviews, this critic has graded:
  • 39% higher than the average critic
  • 10% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 7.9 points lower than other critics. (0-100 point scale)

Roger Moore's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Kirikou and the Sorceress
Lowest review score: 0 The Dirty Kind
Score distribution:
4993 movie reviews
    • tbd Metascore
    • 0 Roger Moore
    If you deign to watch this waste of a good shipboard location, remember this, me mateys. As bad as VampyrZ on a Boat is, there’s a Western epilogue that’s even worse.
    • tbd Metascore
    • 38 Roger Moore
    The script is just a collection of horror tropes. Jake reads from the Encyclopedia of Shadows book his dad left him. A fortune teller animatronic display spooks the kids. The frights are tepid at best. The banter is “sick, and not in a good way.”
    • tbd Metascore
    • 50 Roger Moore
    This sentimental, sweet and romantic voyage crashes into the rocks in the third act with bizarre turns that lean into Chinese self-sacrifice so hard the indoctrination is the least grating thing about it, and all the added supernaturalism in the world can’t rescue it.
    • tbd Metascore
    • 63 Roger Moore
    Project Wolf Hunting is a brutally efficient killing machine long before the supernatural twist stomps into the proceedings. That almost seems like a gimmick-too-far.
    • 54 Metascore
    • 38 Roger Moore
    It’s all harmless enough, and a lovely Yorkshire travelogue if nothing else.
    • 35 Metascore
    • 50 Roger Moore
    This “beer run” from Inwood, Manhattan, to Saigon and “up country” environs starts jaunty, gets somber and sentimental and then goes oh-so-very-wrong. You’ll feel it the instant it happens, just as I did.
    • tbd Metascore
    • 75 Roger Moore
    The story’s arc may feel familiar, but it isn’t utterly predictable, with the child’s enterprise and cunning nicely matched against Marsan’s I’m Bigger Than You omnipotence. And the messaging of “Vesper” leaves this bleak tale a little room to breathe and anyone watching it the tiniest prayer of hope.
    • 54 Metascore
    • 50 Roger Moore
    Even if it bogs down in the middle acts — seriously bogs down — and has missing pieces of the story puzzle even as it takes pains to show us what would be his downfall, this Allan Ungar dramedy plays. More or less.
    • 69 Metascore
    • 88 Roger Moore
    Hudlin’s embracing film reminds us that there was a lot of history that unfolded around this one man, and a lot of change came about thanks to this one extraordinary life of achievement and humility, grace and principled defiance.
    • tbd Metascore
    • 25 Roger Moore
    It doesn’t hang together very well pretty much from the start. But by the third act, this messy mayhem goes right off the rails, as if there were rails it was following in the first place.
    • tbd Metascore
    • 50 Roger Moore
    The Enforcer is filmed-proof that the difference between a C-movie and a straight-up, watchable B-picture is Antonio Banderas. Ask first-time director Richard Hughes. He’ll tell you.
    • tbd Metascore
    • 25 Roger Moore
    What emerges is more a “feeling” than a narrative, more a sensation (irritation, in my case) than cinema, and more BS than your average performative, bubbly and empty TED talk held in a stockyard.
    • tbd Metascore
    • 0 Roger Moore
    Director and co-writer Tory Jones opens his picture with a painfully inept podcast interview, setting an amateurish tone that the picture never shakes.
    • tbd Metascore
    • 38 Roger Moore
    Whatever promise there is in this well-worn existentialist premise starts to dissipate once the first guy meets the second, and the attention steadily fades the more characters in search of an exit — or a GPS fix — that they meet on their journey.
    • 75 Metascore
    • 75 Roger Moore
    Her sound, her look, her fashion sense and her politics are discussed and marveled at by those interviewed, who see her as a woman decades ahead of her time whom the passage of time has largely validated and exonerated.
    • tbd Metascore
    • 38 Roger Moore
    The tamest movie ever made about dabbling in LSD and Riot Grrrl culture has to be Acid Test, a non-prescription sleep aid of a movie.
    • 66 Metascore
    • 63 Roger Moore
    McElhone mopes in the early scenes and shimmers through the later ones, even as she suffers. “Carmen” becomes a veritable Maltese fashion shoot at times.
    • tbd Metascore
    • 38 Roger Moore
    To the Moon is a psychological/psychedelic thriller that has a lot of trouble coming together and more trouble getting to its fairly obvious point.
    • 77 Metascore
    • 63 Roger Moore
    In the end, what God’s Country is wrestling with is too big for the movie or the filmmakers’ ambitions.
    • 78 Metascore
    • 75 Roger Moore
    Tafdrup’s film plays as nightmarish to anyone with real sensitivity long before it turns truly sinister.
    • 48 Metascore
    • 50 Roger Moore
    The original sin of Don’t Worry Darling might be how drunk the filmmakers get on the universe they create, dragging and dragging a less and less interesting pastiche of ’50s life — a drunken office party with a stripper, because we’re all so liberal and “modern” — on for so long that the more exciting third act comes as a refreshing jolt.
    • 73 Metascore
    • 38 Roger Moore
    It’s self-indulgent and self-referential, more a humorless counterpoint to “X” than a precursor.
    • 81 Metascore
    • 63 Roger Moore
    It’s a dry yet fascinating film that covers a lot of ground between the riots, the creation of the Riotsvilles and the convention where its training was unleashed on first Miami and Miami Beach, and later on Chicago.
    • tbd Metascore
    • 75 Roger Moore
    The film is a celebration of the most optimistic big thinker of them all, a figure who has been at the forefront of many of the best phenomena, trends, technology and values inculcated in modern culture.
    • 66 Metascore
    • 63 Roger Moore
    Nobody knocks anything out of the park, but this “Fletch” piles up the singles and doubles, an endless parade of funny lines almost always just thrown away, casually.
    • tbd Metascore
    • 25 Roger Moore
    The Alternate has the effects and a plot that could work, but falls short in pretty much every other regard.
    • 76 Metascore
    • 75 Roger Moore
    The Woman King reminds us that the real history we don’t know makes for a great story, and a grand action yarn. You want to learn where all the good parts and “realistic” elements of that comic book movie “Black Panther” and its sequel came from? Gaze upon “The Woman King,” and be thrilled.
    • tbd Metascore
    • 63 Roger Moore
    The Bengali is a lovely home movie about finding one’s roots, a simple tale that connects a New Orleans family to its West Bengal patriarch, who came over from India in the late 19th century.
    • 61 Metascore
    • 38 Roger Moore
    Cinematically-static if well-acted, and dramatically-flat throughout, it’s an end-of-the-date story of gamesmanship, competing agendas and differing interpretations of what’s going on in a coupling towards copulation sense.
    • 50 Metascore
    • 38 Roger Moore
    Smith folds mortality, grief and regret into the story to give it depth, but the strain of being glib about those elements shows. Scene after scene plays out without so much as a chuckle.

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