For 3,374 reviews, this critic has graded:
  • 44% higher than the average critic
  • 5% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 6.3 points lower than other critics. (0-100 point scale)

Roger Moore's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Get Low
Lowest review score: 0 Mike Boy
Score distribution:
3374 movie reviews
    • 63 Metascore
    • 50 Roger Moore
    There’s a lot that’s agreeable about “Uncorked,” but this overlong movie loses its fizz pretty much when Eli goes abroad. And as any oenophile will tell you, you can’t get that fizz back once the bottle’s “uncorked.”
    • 79 Metascore
    • 75 Roger Moore
    It remains an eye-opening and artful look at just what it took to create that couture, that image and that legacy and that brand — still vital and popular all these years after the shy dreamer’s death.
    • tbd Metascore
    • 25 Roger Moore
    MacFadyen has the chewiest role and his performance reflects that, the only one to truly stand out.
    • 64 Metascore
    • 50 Roger Moore
    Like many a genre picture before it, there’s a sci-fi gimmick and little else to prop it up beyond repeating variations on “How do we escape this suburban hell?” ad infinitum.
    • tbd Metascore
    • 63 Roger Moore
    Our Neopolitan director knows this territory and immerses us in it, showing us far more than he has any character explain.
    • tbd Metascore
    • 63 Roger Moore
    And Turman, as he has pretty much every time the role is worthy of his talents, stands out, giving Justine that extra dose of humanity and heart that makes it worth your while.
    • tbd Metascore
    • 38 Roger Moore
    It’s not awful, not “so bad it’s good,” either. Take away the “twist,” which you’ve guessed and which anybody seeing the trailer or even the poster could figure out, and We Summon the Darkness only summons tedium.
    • tbd Metascore
    • 38 Roger Moore
    Funnier lines, more sharply-defined characters, higher stakes in the whole “Who lives/who dies?” game and darker twists would make Same Boat float instead of sink.
    • 69 Metascore
    • 63 Roger Moore
    Lost Girls is a moody, atmospheric but oddly unemotional mystery.
    • 86 Metascore
    • 88 Roger Moore
    In these, America’s darkest days since the Vietnam War, Crip Camp is an inspiring, upbeat shaft of light and a sobering reminder that whatever conservatives want to say about the ’60s, every now and then, hippies changed America, and helped America change the world.
    • 66 Metascore
    • 63 Roger Moore
    There’s nothing deep in this Banana Split, nothing remotely moving or profound. But Marks (TV’s “Dirk Gently’s Holistic Detective Agency”) and Liberato (“If I Stay”) let us believe these two would connect, push each other’s buttons and bruise each other, and in just that way — just not in the way the title implies.
    • 56 Metascore
    • 50 Roger Moore
    When we’re meant to be moved, there’s a disconnect. And when we should be transfixed, something Marceau managed in mastering his art, we’re let down.
    • 64 Metascore
    • 50 Roger Moore
    Orley’s screenplay borrows from several sources and is never quite wrestled into the same shape as the legions of better movies on this boy-comes-of-age theme that preceded it.
    • 72 Metascore
    • 75 Roger Moore
    In movie fan shorthand? “Blood Simple” meets “Mystic Pizza.”
    • tbd Metascore
    • 75 Roger Moore
    Why Don’t You Just Die! is a grimly gruesome and laugh-out-loud tale of lies, double-crosses, brawls, gunplay and torture. And if Madonna’s ex-husband didn’t learn Russian to make it, writer-director Kirill Sokolov gives him quite the tip of the cap in this dark movie of murder and mayhem in Mother Russia.
    • 48 Metascore
    • 63 Roger Moore
    Kampmeir’s made a lean, disturbing #MeToo tale that should be the last thing any acting class shows its students before graduation, if not on enrollment day as well.
    • tbd Metascore
    • 75 Roger Moore
    Even when it’s not laugh-out-loud funny, it is amusing and utterly disarming.
    • 59 Metascore
    • 63 Roger Moore
    It’s an earnest film graced with surprising glimpses of humanity amid persistent racist venality. The great value is in showing us a piece of history we don’t know but should, and as a terrific showcase for Mackie, Jackson, Long and Hoult.
    • 46 Metascore
    • 38 Roger Moore
    The limp start and depressed finish make Hooking Up a sex comedy in which you can like the cast even as you give up on the movie. Early.
    • tbd Metascore
    • 38 Roger Moore
    To Your Last Death is a gory gimmick without a decent movie behind it.
    • 74 Metascore
    • 75 Roger Moore
    All this piling on turns Ghost of Peter Sellers into a “pathography,” the nickname given biographies that torch the reputations of the dead. And frankly, it’s deserved.
    • tbd Metascore
    • 38 Roger Moore
    It’s all just as soapy and unreal as “Downton Abbey,” with little of the mother-daughter-“sacrifice” of poignancy of “The Joy Luck Club.”
    • 57 Metascore
    • 63 Roger Moore
    Burden is still a movie of faith with more virtues than failings, more ambition than merely pandering and more topicality than we’d care to admit.
    • 39 Metascore
    • 38 Roger Moore
    The script here is pure junk, running gags about balding Murr’s secret hotel “party” life and the like.
    • tbd Metascore
    • 63 Roger Moore
    M.O.M. loses some steam in its third act as Lyman struggles to cook up an ending that comes anywhere near the suspense she’s been building. Edwards fights a not-quite-losing battle with going “over-the-top” crazy as Jacob.
    • 44 Metascore
    • 38 Roger Moore
    Eiza González of “Hobbs & Shaw” and “Baby Driver” is a stunning beauty who handles what action choreography they entrust to her. She knows how to suck in her cheeks as she’s about to set off grenades in the computer room like an action bombshell badass. Very Olivia Wilde.
    • 66 Metascore
    • 50 Roger Moore
    Nobody on Earth loves dogs more than me, but The Dog Doc is too credulous and tone deaf to affluence to give a pass.
    • 45 Metascore
    • 38 Roger Moore
    I can’t say it’s very good, because it isn’t. But the magnificent walking, talking, pratfall-taking sight gag that is Dave Bautista? Well cast.
    • 50 Metascore
    • 38 Roger Moore
    The Hunt is like sitting in a deer blind (Look it up, Hollywoodies) on the wrong corner of the pasture. Pointless.
    • 50 Metascore
    • 75 Roger Moore
    Pegg is the very picture of schizophrenia — funny and charming, here and there, lucid when he can get it together to lie to a doctor, bug-eyed and furious when Theo’s independence is threatened and his view that “time” is being controlled…by somebody — isn’t taken seriously.

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