Richard Roeper

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For 952 reviews, this critic has graded:
  • 70% higher than the average critic
  • 1% same as the average critic
  • 29% lower than the average critic
On average, this critic grades 6 points higher than other critics. (0-100 point scale)

Richard Roeper's Scores

  • Movies
  • TV
Average review score: 70
Highest review score: 100 Hail, Caesar!
Lowest review score: 0 Jupiter Ascending
Score distribution:
952 movie reviews
    • 63 Metascore
    • 88 Richard Roeper
    From its opening moments through its pitch-perfect closing notes, Don’t Come Back from the Moon is a stunning and stark and beautiful thing to behold.
    • tbd Metascore
    • 88 Richard Roeper
    Director and co-writer Rhyan LaMarr’s made-in-Chicago indie film Canal Street is a work of fiction, but it contains so many essential truths, so many recognizable situations and characters, so many (sadly) familiar moments of heartache, it rings as true as a documentary.
    • 75 Metascore
    • 75 Richard Roeper
    As Fyre makes painfully clear, just about everyone involved with the project — including the co-founders — had to have known they were tumbling down a mountain at rapid speed and headed for almost guaranteed scandal and disaster, yet everyone kept on working, as if the denial would somehow soften the blow.
    • 42 Metascore
    • 63 Richard Roeper
    Shyamalan being Shyamalan, Glass does have a distinctive look and some pretty cool moments, and a half-decent twist or two. Mostly, though, it’s an underwhelming, half-baked, slightly sour and even off-putting finale.
    • 46 Metascore
    • 50 Richard Roeper
    Hart delivers a sincere and relatively low-key performance as Dell, but he’s playing an all-too-familiar movie stereotype.
    • 75 Metascore
    • 75 Richard Roeper
    Thanks to the subtle brilliance of Reilly and Coogan, even someone who’s never heard of Laurel and Hardy would likely see how magical these two were together.
    • tbd Metascore
    • 88 Richard Roeper
    Gaffigan’s a regular guy holding up a mirror to our everyday world, and turning those reflections into laughs and bigger laughs — and sometimes best of all, smiles of recognition.
    • 47 Metascore
    • 75 Richard Roeper
    At times Shock and Awe is reminiscent of journalistic procedurals from “President’s Men” to “Spotlight” to “The Post,” and it gets the nitty-gritty details of an early 2000s newsroom just right.
    • 69 Metascore
    • 88 Richard Roeper
    The mission of Eating Animals isn’t to get you to swear off meat (though I’m sure the filmmaker and the narrator would applaud that). It’s to raise your consciousness about the good, the bad and the ugly of animal agriculture.
    • 32 Metascore
    • 25 Richard Roeper
    Egerton is miscast. He and Hewson have nary a spark in their love scenes. Dornan overplays his hand. Foxx belts out nearly every line as if he’s trying to be heard above a parade of fire engines on a Fourth of July parade
    • 47 Metascore
    • 50 Richard Roeper
    But so much of the humor and so many of the situations in Second Act feel like warmed-over Second Helpings of a dinner from long ago...A dinner that wasn’t all that memorable in the first place.
    • 77 Metascore
    • 100 Richard Roeper
    Blindspotting moves at a brisk pace and raises the dramatic stakes with each scene; director Estrada has a masterful touch for pacing.
    • 80 Metascore
    • 75 Richard Roeper
    This movie is bat-bleep crazy even as it makes solid and thought-provoking arguments. It veers all over the place, at times scoring major laughs, on occasion working quite well as a social satire and a screwball romance. But it also falters with some running jokes that stumble and collapse, and a few cringe-inducing scenes that aim for provocation but seem forced.
    • 51 Metascore
    • 88 Richard Roeper
    If you told me Bird Box was based on a Stephen King story — yep, I could see that. It’s that chilling. That suspenseful. And oh yes, that scary.
    • 60 Metascore
    • 50 Richard Roeper
    On the Basis of Sex is almost always solid. But “solid” is about as high as it goes.
    • 68 Metascore
    • 25 Richard Roeper
    A giant pile of shiny gift-wrapped garbage.
    • 61 Metascore
    • 75 Richard Roeper
    As McKay acknowledges in the introduction, Dick Cheney remains an enigma after all these years. I’m not sure Vice sheds any new light on the Cheney story. It places him in a spotlight that continually changes colors and tones but is almost never flattering.
    • 87 Metascore
    • 100 Richard Roeper
    A great American novel has been turned into a great American film.
    • 40 Metascore
    • 88 Richard Roeper
    One of the many graceful touches in Welcome to Marwen is the total lack of pity or condescension in either world.
    • 55 Metascore
    • 75 Richard Roeper
    I don’t see Aquaman ever reaching icon status, but I’ll say this: He’s a lot more fun on his own, when he’s not saddled with those overly serious stiffs Superman and Batman.
    • 68 Metascore
    • 88 Richard Roeper
    Ben Is Back shifts gears and becomes as much a thriller as a family drama, and some of the developments stretch credulity. Through it all, though, there’s the magnificence of Julia Roberts, and the fine performances from Hedges, Vance and the rest of the cast. They do great justice to this finely constructed slice of fractured family life.
    • 60 Metascore
    • 50 Richard Roeper
    Despite the sometimes clever and surely deliberately anachronistic dialogue from the terrific screenwriter Beau Willimon (“The Ides of March,” the Netflix series “House of Cards”), capable direction from Josie Rourke and strong performances from Saoirse Ronan as Mary Stuart and Margot Robbie as Queen Elizabeth, Mary Queen of Scots often comes across as stultified and stagnant.
    • 58 Metascore
    • 75 Richard Roeper
    It’s an entertaining enough offbeat crime comedy/drama featuring an amazing cast — led by the grizzled, shuffling, mumbling, wisecracking old dog playing the lead.
    • 66 Metascore
    • 88 Richard Roeper
    This is a wall-to-wall smile of a movie: big of heart and large in scale, lavishly staged, beautifully photographed and brimming with show-stopping musical numbers.
    • 87 Metascore
    • 100 Richard Roeper
    This is an inclusive, diverse, multi-level, multi-layered, funny, warm, cool, richly detailed, lovingly rendered, friendly neighborhood instant classic.
    • 90 Metascore
    • 88 Richard Roeper
    It’s a period piece with a wink. It’s also funny as hell and a true big-screen treat.
    • 96 Metascore
    • 100 Richard Roeper
    Cuarón’s artistry yields a film with the pinpoint authenticity of a docudrama, but also the intoxicating and lyrical poetry of memories as filtered through a perfect dream. Sometimes we go to the movies and we’re rewarded with a masterpiece.
    • 58 Metascore
    • 88 Richard Roeper
    Of course, the aging-hit-man theme is hardly original, and at times Asher feels almost TOO familiar — but thanks to the great performances by Perlman and the supporting cast; a knowing and literate script by Jay Zaretsky, and the slick direction of Michael Caton-Jones, this is a sparkling black diamond of film noir.
    • 53 Metascore
    • 75 Richard Roeper
    Dumplin’ sometimes takes the easy road.... But there’s so much more to enjoy, from the nuanced work by Jennifer Aniston that ensures Rosie’s never a caricature of a pageant mom; to the warm and natural best-buddy chemistry between Danielle MacDonald and Odeya Rush; to that instant classic of a soundtrack courtesy of Ms. Parton, with a little help from her friends.
    • 66 Metascore
    • 75 Richard Roeper
    The script by Stallone and Juel Taylor is solid, adhering to the time-honored “Rocky” formula of relatively intimate character scenes, training montages and of course a couple of big fights.

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