Richard Roeper

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For 1,042 reviews, this critic has graded:
  • 71% higher than the average critic
  • 2% same as the average critic
  • 27% lower than the average critic
On average, this critic grades 6.1 points higher than other critics. (0-100 point scale)

Richard Roeper's Scores

  • Movies
  • TV
Average review score: 70
Highest review score: 100 A Most Violent Year
Lowest review score: 0 Jupiter Ascending
Score distribution:
1042 movie reviews
    • 67 Metascore
    • 63 Richard Roeper
    Though Light of My Life is a well-filmed and occasionally brutally effective piece of work, Affleck dilutes the power of the story with too many self-indulgent, patience-testing scenes.
    • 59 Metascore
    • 75 Richard Roeper
    Yes, it’s a raunchy, edgy, hard-R comedy about a trio of 12-year-old boys who drop the f-bomb every other sentence and get involved in all sorts of predicaments featuring sex toys and beer and molly — but even the most hardcore jokes have a good-natured and even sweet larger context.
    • 58 Metascore
    • 88 Richard Roeper
    Them That Follow is a harrowing and chilling deep dive into an isolated community in the Appalachian mountains.
    • 71 Metascore
    • 75 Richard Roeper
    Blinded by the Light is almost unspeakably corny at times as it shifts tones from realistic drama-comedy to flat-out musical — but it’s easy to forgive the bumpy moments in favor of sitting back and enjoying the simple pleasures of an old-fashioned, inspirational, coming-of-age tale … Especially if you’re a big Boss fan like yours truly.
    • 51 Metascore
    • 50 Richard Roeper
    In a rare weak performance for Cate Blanchett, she plays an aggravating, off-putting wife and mother in Richard Linklater’s disappointing book adaptation.
    • 73 Metascore
    • 88 Richard Roeper
    This is a time capsule — an expertly crafted time capsule — of an astonishing career.
    • 73 Metascore
    • 88 Richard Roeper
    So much of Luce is about what’s happening beneath the surface and between the lines. Everyone says they’re searching for the truth — even as they lie and obfuscate and bend the facts to suit their particular agendas and world views.
    • 58 Metascore
    • 75 Richard Roeper
    Sure, there are times when we’re aware our emotions are being manipulated — but we’re fine with that, because we want to see, and we expect to see, the heroic underdog triumph against nearly insurmountable odds.
    • 43 Metascore
    • 63 Richard Roeper
    Thanks in large part to Costner’s robust, earnest, growling, deadpan voice work as a dog who can be brilliant one moment and fantastically clueless the next, “The Art of Racing In the Rain” still comes close to winning us over … Until the final scene, which was so shameless and manipulative, I wanted a refund on every lump in the throat and teary-eyed moment I had experienced to that point.
    • 36 Metascore
    • 50 Richard Roeper
    It gets to the point where it hardly matters to us who lives and who dies, because they’re all stone-cold killers.
    • 60 Metascore
    • 38 Richard Roeper
    Painfully long, exceedingly tedious, consistently unimaginative and quite dopey.
    • 83 Metascore
    • 100 Richard Roeper
    In certain elements of tone and structure, Once Upon a Time In Hollywood has echoes of "Pulp Fiction" and "Jackie Brown," but it is alive and electric with a beat all its own.
    • 50 Metascore
    • 75 Richard Roeper
    While not all the pieces of the puzzle perfectly fit into place, it’s still a good yarn filled with arresting visuals and solid performances.
    • 70 Metascore
    • 88 Richard Roeper
    Some of the developments seem a bit rushed and forced, but then Shelton wraps up the story with the perfect grace note, and we find ourselves thinking about the lives of these characters beyond the closing credits and hoping they’re all going to be just fine.
    • 90 Metascore
    • 100 Richard Roeper
    This is a viewing experience to be treasured. It is one of the very best films of 2019.
    • 80 Metascore
    • 88 Richard Roeper
    Toni Morrison is an absolutely beautiful wordsmith and a beautiful force on multiple fronts, and if this documentary is an unabashed love letter to her life and work, I say: Why. Not.
    • 60 Metascore
    • 63 Richard Roeper
    With an intriguing premise, the magnetic Daisy Ridley (Rey in the “Star Wars” sequel trilogy) in the lead and a stellar supporting cast including Naomi Watts in a dual role, Ophelia has its moments of inspiration and beauty.
    • 42 Metascore
    • 75 Richard Roeper
    Nanjiani and Bautista are terrific together, but Stuber also benefits from a quartet of wonderful actresses who are all effective despite limited screen time.
    • 55 Metascore
    • 88 Richard Roeper
    While the musical numbers don’t match the impact of the originals and there’s a bit of a lull in the second act where not all that much seems to be happening, The Lion King is on balance a solid and at times stunningly beautiful film.
    • 73 Metascore
    • 75 Richard Roeper
    Clocking in at a bloated 2 hours and 20 minutes and featuring a VERY slow build before we get to the good stuff, the gorgeous and weird and ludicrous horror film “Midsommar” tests our patience more than once before delivering some seriously grisly and wonderfully twisted material in the final act.
    • 69 Metascore
    • 75 Richard Roeper
    It’s a zesty and sweet and satisfying but not an overly dark slice of entertainment, bursting with pyrotechnics and sprinkled with sharp humor and infused with just enough life-and-death ingredients to keep you interested throughout.
    • 41 Metascore
    • 75 Richard Roeper
    A quirky and entertaining deadpan comedy/drama.
    • 70 Metascore
    • 88 Richard Roeper
    It’s the kind of music doc that makes you want to download about 50 songs — although you already should have most of them on your playlist.
    • 60 Metascore
    • 75 Richard Roeper
    Nightmare Cinema as a whole is the bloodiest, most violent, most gruesome and most twisted movie I’ve seen this year. And I mean that mostly in a good way.
    • 40 Metascore
    • 50 Richard Roeper
    It’s arguably the weakest, lamest and least memorable entry in the history of the franchise. It’s also crass and tone-deaf. And played mostly for laughs that are few and far between.
    • 54 Metascore
    • 75 Richard Roeper
    The Dead Don’t Die is delivered in one long, deadpan note. Some of the sight gags and quips are gold; others are just filler, but still kind of interesting in a wacky sort of way.
    • 84 Metascore
    • 100 Richard Roeper
    The fourth entry is a worthy addition to the Toy Story library, bringing back some of the most beloved characters in the history of animated film and introducing us to a fantastically entertaining new bunch of toys — some of them adorable and huggable, some of them more reminiscent of a certain type of creepy, old-school doll usually seen in R-rated horror films.
    • 38 Metascore
    • 50 Richard Roeper
    Tessa Thompson’s performance is the best thing in the movie, in part because she’s playing a character who genuinely respects the legacy of the Men (and Women) in Black and is thrilled to be part of the team.
    • 64 Metascore
    • 75 Richard Roeper
    Unusual framing device aside, Halston is on balance a solid and affectionate tribute to an American original.
    • 79 Metascore
    • 88 Richard Roeper
    As 16 Shots so well documents, this was a seminal moment in Chicago history, as “just another justified police shooting” turned out to be anything but that.

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