For 2,531 reviews, this critic has graded:
  • 48% higher than the average critic
  • 4% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 5.7 points lower than other critics. (0-100 point scale)

Roger Moore's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 12 Years a Slave
Lowest review score: 0 Mike Boy
Score distribution:
2531 movie reviews
    • 50 Metascore
    • 63 Roger Moore
    The result is a film that lacks fury and outrage, that straddles a morally murky fence. It’s not that Whale of a Tale lacks a point of view, it’s that it lacks conviction about any point of view.
    • 34 Metascore
    • 38 Roger Moore
    It’s easier talking about the film’s most promising bits, because too little of the rest of it has anything particularly funny to offer.
    • tbd Metascore
    • 38 Roger Moore
    It’s a movie finding its audience, but as nakedly obvious as its message is and as limited as its shock/entertainment/outrage value might be — the empty seats in the press gallery of the trial suggest “the real enemy” — “Gosnell” isn’t likely to change anybody’s mind.
    • tbd Metascore
    • 75 Roger Moore
    In Wang, we see a stoic Everyman, straining to defy time like the rest of us, working so hard he sometimes forgets to dye the gray out of his hair, trying to keep his head about him even as his agent breaks down in tears.
    • 74 Metascore
    • 75 Roger Moore
    Knightley and West create spectacular friction in these roles, two people who loved, collaborated and rubbed each other the wrong way and the right way, and from that, a great artist was created, shaped and immortalized — with a little help from her lawyers.
    • 82 Metascore
    • 63 Roger Moore
    More a good movie of its moment than a great film, The Hate U Give is a drama built on messaging and a hand full of terrific, emotionally-charged scenes.
    • 68 Metascore
    • 50 Roger Moore
    For all these cumulative credibility that the “Pineapple Express” team bring to Halloween, this is only marginally better than the many sequels or the 2007 Rob Zombie re-boot.
    • 26 Metascore
    • 38 Roger Moore
    Director Dianne Dreyer and screenwriter Audra Gorman have worked in the business for years — producing, location-managing, etc. They have contacts and “how to get your film made” know-how. What they lacked here was a plot, dialogue, characters or dramatic situations that were worth anybody’s time.
    • 82 Metascore
    • 75 Roger Moore
    On Her Shoulders also gets to the essence of Nadia. Her speeches (in English and Arabic with English subtitles) move audience after audience to tears.
    • tbd Metascore
    • 75 Roger Moore
    The inclusion of so many young voices gives "What Were They Thinking?” an optimistic feel.
    • tbd Metascore
    • 50 Roger Moore
    It’s too adult to be a “family” film, not edgy or gripping enough for grownups.
    • tbd Metascore
    • 50 Roger Moore
    Theater fans will bask in the knowing glow of “theater types” and offstage ensemble shenanigans. If only there were more of them for everybody to giggle at and feel invited to the party. Because curse or no curse, Ghost Light is never more than a “brief candle.”
    • 53 Metascore
    • 38 Roger Moore
    The plot feels played and the stakes feel low.
    • tbd Metascore
    • 25 Roger Moore
    Bad acting by pretty people, chilly sex scenes acted out in mail order S&M wear, laughable dialogue and money money everywhere. What is this, “Fifty Shades of Ebony?”
    • tbd Metascore
    • 50 Roger Moore
    The leads are more tolerable than engaging, but some scenes sing, the roadside stops have a timeworn charm and Irons, Gathegi and Bello make Better Start Running move right along, even if it rarely achieves a sprint.
    • 55 Metascore
    • 63 Roger Moore
    It takes an absurdly long time getting here, but with a lot of “Man, that’s nuts” along the way, it’s pretty much worth the wait.
    • 75 Metascore
    • 75 Roger Moore
    Nathaniel Kahn’s collected interviews with artists, hype-driven dealers, well-heeled collectors and art historians and visits to Sotheby’s and the Frieze Art Fair and elsewhere give us the scale of the business, the birth of competitive modern art collecting and a sense of the recent history of this winner-take-all playground of the richest of the rich.
    • 67 Metascore
    • 75 Roger Moore
    Green’s film is about a tragedy, born in a time of great national stress. It’s not without its flaws, but it’s an absolutely riveting piece of movie-making, one you can be sure Jean Renoir would appreciate.
    • 84 Metascore
    • 88 Roger Moore
    Gosling caps an already-distinguished career with an unfussy performance that lets us see behind the stone-faced public mask this most enigmatic American hero wore, from the moment he became a public figure to the very end of his days.
    • 65 Metascore
    • 63 Roger Moore
    I didn’t expect to like it, and Timothy Brady’s script never quite hits that “sleeper” sweet spot. But All Square rides its spot-on casting, sharply defined performances and beer-stained sense of place well past second base, if not all the way home.
    • tbd Metascore
    • 38 Roger Moore
    It’s not particularly frightening, it goes on entirely too long, but if you’re inured to the shocks and tropes of American horror, The 3rd Eye/Mata Batin) will hold your interest and make you wonder how long it will take Blumhouse to remake it.
    • 31 Metascore
    • 38 Roger Moore
    I Still See You is a middling mystery thriller in which the supernatural is explained and over-explained by long bursts of exposition, “rules” and scientific gobbledygoop.
    • 64 Metascore
    • 63 Roger Moore
    It’s a formulaic dramedy with a little pathos, some wit, some unusual-in-real-life-but-not so-much-in-rom-coms situations.
    • 79 Metascore
    • 75 Roger Moore
    Liyana is still a wonder, and the story the kids cook up themselves every bit as epic as the one Disney plagiarized for “The Lion King.” This effort turns out so delightful that somebody should hire these children as focus group consultants the next time Hollywood wants to tell a tale of Africa.
    • 81 Metascore
    • 88 Roger Moore
    Filmmakers Lowell and Mortimer were there to document every excruciating inch, with stunning Yosemite scenery as their backdrop for almost every striking frame. The film they got out of it is, like the experience they were documenting, one of a kind.
    • 62 Metascore
    • 63 Roger Moore
    Director Griffiths never lets reality slip too far beyond her film’s grasp, though the sexual complications, all of them, play like melodramatic conventions, some less organic than others. She’s still delivered a convincing portrait of a world and how its limited horizons shape those who might never escape it.
    • tbd Metascore
    • 63 Roger Moore
    Director Bryn Evans works hard to maintain the suspense of a championship points race, covering that 2017 season from the pits, the telecommunications center, the garages and the RV where Dixon and his wife and kids stay on race weeks. We see a big crash, a furious physical recovery and the quiet stoicism of Dixon and those rare few who can do what he does.
    • 35 Metascore
    • 38 Roger Moore
    I mean, we all love Tom Hardy, but he can’t break through in this thinly-scripted, dully acted and badly directed Marvel comic brought to life.
    • 80 Metascore
    • 63 Roger Moore
    The mystery is more intriguing than the movie is alarming.
    • 67 Metascore
    • 75 Roger Moore
    Director and co-writer Thomas Bidegain (he scripted “A Prophet”) gives us a tail of futility, of “saving” someone who does not want to be saved and the racism built into Alain’s fanatical pursuit.

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