Richard Roeper

Select another critic »
For 1,160 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 Three Billboards Outside Ebbing, Missouri
Lowest review score: 0 Mother's Day
Score distribution:
1160 movie reviews
    • 35 Metascore
    • 38 Richard Roeper
    It’s almost astonishing how unfunny this movie is, given the talents of primary cast members Ed Helms, Taraji P. Henson, Betty Gilpin and David Alan Grier. They’re all troupers and they dive headfirst into the material, but the dialogue they’re delivering and the situations they’re mired in make it impossible to wring even a smile, let alone a legitimate laugh, from the material.
    • 41 Metascore
    • 75 Richard Roeper
    Corny? Absolutely. Sincere and spiritual? Yes.
    • 37 Metascore
    • 75 Richard Roeper
    Sean Hayes is a droll delight as Susan, who uses cynicism and snappy put-downs as a defense mechanism but has a real heart.
    • 61 Metascore
    • 75 Richard Roeper
    We forgive Elephant its conceits because it’s such a joy to observe the rituals of these incredible, amazing creatures.
    • 64 Metascore
    • 75 Richard Roeper
    To the credit of Orley’s screenplay and Davidson’s smiling-devil performance as the charming but toxic Zeke, we can understand how a vulnerable teen could mistake a loser for a legend — and we’re rooting like hell for the kid to realize that mistake before it’s too late.
    • 86 Metascore
    • 100 Richard Roeper
    Directors LeBrecht and Newnham do a nimble job of threading the stories of a number of campers into a compelling narrative, deftly moving back and forth from the newsreel-style footage from the 1970s and the interviews and life updates on the campers many decades later.
    • 60 Metascore
    • 88 Richard Roeper
    Nearly every step of the way, Stargirl finds just the right notes to find the right side of the line between precious and lovely, between arbitrary and plausible, between serendipitous and condescendingly magical.
    • 44 Metascore
    • 50 Richard Roeper
    Frantically overcooked, bursting with headache-inducing, rapid-cut action sequences and only half as clever as it fancies itself, Bloodshot is an ambitious and intermittently entertaining minor-league superhero film.
    • 72 Metascore
    • 75 Richard Roeper
    The breezy and cheeky Extra Ordinary (that’s how they’re spelling it and you’ll find out why if you check out the movie) is a romcom/possession movie with some of the biggest laughs in any film this year — and some pretty nasty and cool special effects as well.
    • 90 Metascore
    • 88 Richard Roeper
    The gifted director Kelly Reichardt (“Old Joy,” “Wendy and Lucy,” “Meeks Cutoff”) adds to her impressive canon of minimalist, Oregon-set treasures with an immersive and deceptively simple and uniquely original frontier morality play set in the unforgiving Pacific Northwest of the 1820s.
    • 50 Metascore
    • 50 Richard Roeper
    Nothing incendiary to see here, folks. Just a mostly forgettable, slow-season splatter movie.
    • 49 Metascore
    • 88 Richard Roeper
    It’s a fantastically over-the-top, drive-in B-movie for the streaming generation.
    • 58 Metascore
    • 50 Richard Roeper
    All the players in The Misogynists sound as if they’ve been handed talking points instead of a screenplay.
    • 59 Metascore
    • 75 Richard Roeper
    To Annette Bening’s credit, she finds just the right notes to illustrate Grace’s capacity for love, as well as her special gift for never letting up and driving you a little bit crazy.
    • 52 Metascore
    • 50 Richard Roeper
    Michael Winterbottom (“The Claim,” “24 Hour Party People,” “Code 46”) is a wonderfully gifted and versatile director, so it comes as no small surprise Greed is such a thudding. one-note takedown of a fictional avaricious fashion mogul.
    • 61 Metascore
    • 50 Richard Roeper
    The story fluctuates between the uninspired and the just plain weird — and then gets even weirder. It’s too basic and familiar to keep parents and older children consistently entertained, and too trippy and existential for the little ones.
    • 59 Metascore
    • 75 Richard Roeper
    This is a film brimming with essential truth about the events at hand, and it delivers an impactful but also entertainingly resonant message. It’s also a crackling good, emotionally satisfying, old-fashioned thriller, with readily identifiable heroes and hiss-worthy villains.
    • 71 Metascore
    • 75 Richard Roeper
    It’s a tart little gem, bolstered by a bounty of clever and winning performances.
    • 72 Metascore
    • 88 Richard Roeper
    Elisabeth Moss delivers the best performance of her film career, carrying the story every step of the way.
    • 70 Metascore
    • 75 Richard Roeper
    There’s something wonderful, albeit borderline shameless, about a movie that gives Billy Crystal a hall pass to indulge his corniest instincts, from his character’s gimmicky hat to his karaoke scenes to his baseball-influenced memories.
    • 73 Metascore
    • 63 Richard Roeper
    Ordinary Love gets everything right, but there’s almost nothing in the way of a major plot revelation or insightful flashback explaining certain elements from the past.
    • 54 Metascore
    • 38 Richard Roeper
    Most problematic of all is the character of fictional FBI Agent Jack Solomon (Jack O’Connell), who is tasked with leading the surveillance and digging up dirt on Seberg and becomes deeply conflicted about his job.
    • 47 Metascore
    • 50 Richard Roeper
    Ford gives a grounded, quietly powerful performance as a reclusive, regret-filled, self-pitying old-timer who crawls out of a bottle and finds a renewed sense of purpose when he sees the world through Buck’s eyes. If only those eyes weren’t so distractingly incongruous.
    • 64 Metascore
    • 88 Richard Roeper
    This is a scary movie that loves other scary movies.
    • 22 Metascore
    • 50 Richard Roeper
    The only thing more insane and contrived than the Big Reveal is the epilogue, which contains not one but two maddeningly bizarre developments that are beyond strange and inconsistent, even for a movie that’s been strange and inconsistent all along.
    • 62 Metascore
    • 75 Richard Roeper
    It’s a knowing and insightful look at how lives can be forever changed and love can be lost or gained in a single moment.
    • 70 Metascore
    • 88 Richard Roeper
    Come As You Are has a wonderful way of making even the most obvious situations seem fresh and funny and original.
    • 49 Metascore
    • 50 Richard Roeper
    Despite the invaluable comedic/dramatic gifts of Julia Louis-Dreyfus and Will Ferrell, who do their best to inject some life and energy into the proceedings, Downhill is a pale, tame, broad and soft-edged remake of the far superior 2014 Swedish film “Force Majeure.”
    • 71 Metascore
    • 75 Richard Roeper
    It’s a Hollywood story of a spectacular rise to the top that was quite apparently a real-life horror story all along.
    • 61 Metascore
    • 88 Richard Roeper
    Brie’s performance is open and honest and disturbing and funny and lovely and resonant. The work is so good and so convincing that even when Sarah is spouting the craziest of her mad theories, there’s a small part of us that wonders if Sarah’s truth is the real truth. We certainly believe SHE believes.

Top Trailers