For 2,306 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 points lower than other critics. (0-100 point scale)

Roger Moore's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Black Swan
Lowest review score: 0 Mike Boy
Score distribution:
2306 movie reviews
    • 80 Metascore
    • 75 Roger Moore
    It’s jarring and stereotype-smashing, for starters, and just plain disturbing on top of that.
    • 40 Metascore
    • 38 Roger Moore
    Boseman carries himself with confidence in every role, but the rat hole this picture twists into must have left even him shaken.
    • 57 Metascore
    • 63 Roger Moore
    Chatty, self-absorbed, streetwise and sex obsessed, even if he wasn’t drawing his quintessential “New York types,” we’d call Jules Feiffer’s characters “cartoons.”
    • 83 Metascore
    • 63 Roger Moore
    As one publisher says enthusiastically of Hogancamp’s work, “There’s no irony in it.” That’s true of the movie, which sorely lacks context and authority in trumpeting these photos of bloodied GI Joes as more than what they were intended, as therapy for a wounded man and his obsessed vision of a world where the wrongs that happened to him can be made right.
    • 64 Metascore
    • 63 Roger Moore
    It’s too long, meanders hither and yon in getting to the ending we’re looking for.
    • 51 Metascore
    • 38 Roger Moore
    I was one of the few naysayers when the franchise was rebooted with “Jurassic World,” yet even with the bar set lower for expectations on this one, I found it “Transformers” boring, a summer movie that however much it earns, fails to justify its existence.
    • 73 Metascore
    • 100 Roger Moore
    It’ll be on PBS at some point, but don’t wait. Seeing it in a cinema has a hint of religious experience about it.
    • tbd Metascore
    • 38 Roger Moore
    The cast is accomplished and confident, as you’d expect as these teens range in age from mid-20s to 30 (Ms. Sanz).
    • 36 Metascore
    • 50 Roger Moore
    Devine, like Adam Sandler, has hitched his cinematic wagon to Netflix, and they have done likewise. But as ready as the Jack Black comparison (musical, plump, tries too hard) might be, it’s only mean because it’s accurate.
    • 85 Metascore
    • 63 Roger Moore
    I Am Another You, now streaming on Amazon, is never judgmental, although Dylan gets a tiny taste of that from one (among many) religious stranger.
    • 49 Metascore
    • 63 Roger Moore
    The movie is imminently watchable, and the surface sheen is fine, but the real Berg remains more mystery than man with a mission.
    • 64 Metascore
    • 63 Roger Moore
    Damsel could have joined the ranks of, if not great Western comedies (“Destry Rides Again,” “Support Your Local Sheriff”), at least pretty good ones (“Cat Ballou,””Support Your Local Gunfighter”). As it is, we can guffaw at the characterizations and situations for a good hour before that horse is plum played out.
    • 60 Metascore
    • 75 Roger Moore
    Katie Silberman’s script has a flip, zingy quality at its best. But like any rom-com that works, it takes at least one time-out to reach for the heart.
    • tbd Metascore
    • 75 Roger Moore
    Vreeland’s film, wallowing in the Beaton vision of beauty via his images, his art and his screen work, does a marvelous service in reclaiming this dandy’s dandy/designer’s designer and iconic photographer from obscurity.
    • tbd Metascore
    • 75 Roger Moore
    I Am Not an Easy Man works, an over-reaching satire that gets at the horrors women face in a world where they don’t have equality or the entitled initiative to succeed and a film that suggests God help us if the shoe is ever on the other foot.
    • 62 Metascore
    • 63 Roger Moore
    The movie before it is rather undone by the third act that ends it.
    • 57 Metascore
    • 63 Roger Moore
    Tag
    It was never going to be as riotous as the trailers, but it's still funny, and in the case of Isla Fisher -- damned funny.
    • 52 Metascore
    • 50 Roger Moore
    This Superfly is all hair and clothes and cars. There’s nothing beneath the surface.
    • 48 Metascore
    • 63 Roger Moore
    A tuneful, affable rockumentary.
    • tbd Metascore
    • 75 Roger Moore
    The plot, which takes a few too many predictable turns, isn’t as interesting as the characters and the rich milieu Lediga puts them.
    • tbd Metascore
    • 50 Roger Moore
    It makes for a chilling portrait of fanaticism at work, even if it is more historical than anything worthy of “let’s feel that fear again” topicality. Even if we suspect its designed to gin up more support for our Islamic ally in the Middle East.
    • 80 Metascore
    • 75 Roger Moore
    Incredibles 2 is a superhero action comedy that’s about something, and when’s the last time the moneychangers at Marvel could make that claim?
    • 67 Metascore
    • 50 Roger Moore
    It’s worthwhile enough to justify the film being made, but just barely.
    • tbd Metascore
    • 25 Roger Moore
    What all involved, including cinematographer-turned-director Pasha Patriki, settle for is easier, dumber and far less interesting, a movie that lives down to its vague, murky title with endless shootouts through sets that don’t remotely resemble what this prison is supposed to be.
    • 62 Metascore
    • 50 Roger Moore
    This is closer to an “After School Special,” and yes — that’s an even older reference than “Sixteen Candles” — an R-rated “After School Special.”
    • 67 Metascore
    • 63 Roger Moore
    Haley’s movies have an old-fashioned comfort food quality, and this sits happily on the menu with his earlier works.
    • 65 Metascore
    • 63 Roger Moore
    Upgrade manages to entice and provoke, impress and terrify, if you let it.
    • 57 Metascore
    • 38 Roger Moore
    Writer-director Drew Pearce has tarted up a dullish action comedy that finds laughs hard to come by and its moral underpinnings shaky.
    • 61 Metascore
    • 38 Roger Moore
    A make-work project for generations of Hollywood women and female fashion celebrities, it is pristine in its visuals — mainly closeups of the Oscar winners and other great beauties of its cast precise in its caper — and utterly bloodless in execution.
    • 68 Metascore
    • 88 Roger Moore
    Great filmmakers remember that cinema is a visual medium, that you never say something with dialogue when you can show it with an image. That’s how Clio Barnard tells the story of Dark River, a quiet, tense and beautiful tale of brothers and sisters and abuse set in Yorkshire sheep country.

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