For 3,977 reviews, this critic has graded:
  • 42% higher than the average critic
  • 7% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 6.9 points lower than other critics. (0-100 point scale)

Roger Moore's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 The Social Network
Lowest review score: 0 Expo
Score distribution:
3977 movie reviews
    • 41 Metascore
    • 63 Roger Moore
    The target demo here is the same as it ever was — 8-and-under. There’s plenty of slapstick and critter gags for them, crashing furniture, trashed hotel rooms and wedding party mishaps. The rest of us? “Cute” it is and cute these two forever will be.
    • 73 Metascore
    • 63 Roger Moore
    140 minutes of “fly on the wall” filmmaking, mostly of Eilish performing, songwriting (or avoiding it, as her brother complains), doing photo shoots and radio interviews and peaking at Coachella is a bit much.
    • 77 Metascore
    • 75 Roger Moore
    Zinshtein covers enough of the bases and gives all those she interviews the screen time to speak their truth. And if they’re a gun nut, grievance-wielding pastor who is sure he’s not the crackpot he comes off as here, merely “right,” we all ought to be worried. Dogmatic cranks shouldn’t be setting dark, confrontational policies when their fondest hope is that they’re self-fulfilling.
    • tbd Metascore
    • 38 Roger Moore
    As Long as We Both Shall Live is underpopulated and lifeless, as stark as Nya’s stand-up comic pal’s act, and the anemic response to it.
    • 41 Metascore
    • 50 Roger Moore
    The three stories could each have been their own movie, and probably a more compelling one than this mash-up turns out to be. Everybody gets in everybody else’s way for the first two and a half acts.
    • tbd Metascore
    • 38 Roger Moore
    There are few things more maddening than sitting through a thriller that should work, that has the requisite elements in place, and just doesn’t.
    • 46 Metascore
    • 50 Roger Moore
    But it’s like they’re at a loss about what to do with real people, real situations, real traumas or emotions without comic book men and women in tights and lots and lots of effects.
    • 26 Metascore
    • 38 Roger Moore
    Stevens mugs, Fisher vamps and Mann and Dench do their damnedest. But you can’t improve on Coward, and there’s no re-animating this corpse.
    • 42 Metascore
    • 63 Roger Moore
    I found the picture moving in spite of its seeming unwillingness to wholly grapple with race and Coogan’s unwillingness to master the Afrikaner accent. He’s a gifted mimic, and Riseborough manages it. What gives? But what it does wrestle with is profound, and profoundly disturbing.
    • tbd Metascore
    • 38 Roger Moore
    Safer at Home is so trapped in its own gimmick, so myopic, so limited in action and lacking close-ups that build viewer empathy with characters, this becomes just an interested “failed” exercise.
    • 55 Metascore
    • 63 Roger Moore
    Despite his dabbling in many indulgences, Serj Tankian doesn’t come off as shallow or particularly superficial here. But this documentary almost does.
    • tbd Metascore
    • 63 Roger Moore
    In Full Bloom is a patient, simple post-war parable of fighters — cultures in collision, dreams and disappointment.
    • tbd Metascore
    • 38 Roger Moore
    Pedestrian shot selection and editing finish off any sense of “urgency” that the story is meant to generate.
    • 74 Metascore
    • 63 Roger Moore
    Lovely as it sometimes is and impressive as the cast may be, it holds too few surprises and dramatic peaks to make it a stand-out in a genre that’s fast-becoming old 19th century hat.
    • 65 Metascore
    • 75 Roger Moore
    This clever and darker than dark thriller gives us villains to hiss at and villains to root for. But at the end of the day, when evil is done and hope is thin, “justice” and revenge blur. In the movies, at least, we bay for an avenger to spill some blood.
    • 64 Metascore
    • 63 Roger Moore
    Greenland doesn’t often surprise, but it never disappoints.
    • 53 Metascore
    • 63 Roger Moore
    It’s a bio-pic that keeps its brilliant, sultry, complicated subject at arm’s length.
    • 50 Metascore
    • 63 Roger Moore
    The final act of a thriller is where the payoff lies. We’ve invested in the characters and relationships. We fear for them, and as we do, the suspense should build to the point where it weighs on you. The Violent Heart has that weight about it right from the start. And if the climax seems wanting, perhaps one twist too many, it still doesn’t spoil the mystery we see unfold and the solutions we have time to consider over its 100 or so minutes.
    • 63 Metascore
    • 63 Roger Moore
    Writer-director John Swab (“Run With the Hunted”) delivers a B-movie with few surprises but plenty of good, solid punches at a mess that didn’t fix a problem, it just allowed a fresh field of predators to profit from it.
    • 62 Metascore
    • 50 Roger Moore
    The actors may give their all and the squirrel might indeed “stick the landing.” Flora & Ulysses still falls a little short of the mark.
    • tbd Metascore
    • 63 Roger Moore
    Red Dot is a savage if not wholly satisfying “flip-the-script” stalked in the wilderness thriller whose cleverness comes from its subtext.
    • tbd Metascore
    • 25 Roger Moore
    Paranormal Prison has a great location — a closed penitentiary in Boise, Idaho. It’s got a time-tested concept, a paranormal Youtube show comes in to “Blair Witch”/reality TV the place one last time before it’s torn down. But half of its paltry 70 minutes of screen time are spent “explaining.”
    • tbd Metascore
    • 63 Roger Moore
    Little Big Women is a perfectly watchable genre melodrama, an old-fashioned “women’s picture,” with sentiment, intricate relationships, intrigue and not-too-heavy-to-take heartbreak.
    • tbd Metascore
    • 75 Roger Moore
    It’s no “48 Hrs.” or “Fugitive,” but Below Zer is a good one, with or without subtitles.
    • 81 Metascore
    • 75 Roger Moore
    Ford has made a downbeat, realistic treatment of this subject that doesn’t have a built-in call-to-arms as part of its make-up. That’s implied. Nobody, no couples, should have to go through this.
    • tbd Metascore
    • 63 Roger Moore
    Bullied covers new ground even as it feels, at times, as if it’s all over the place. Remember, an academic made it, not a professional filmmaker.
    • tbd Metascore
    • 38 Roger Moore
    For a 76 minute thriller, it wastes a helluva lot of time.
    • 62 Metascore
    • 63 Roger Moore
    The acting is superb and spare, as you might expect.
    • 64 Metascore
    • 63 Roger Moore
    The best thing about the script and direction is that we rarely get too far ahead of it. We think we see what’s coming, but you never know.
    • 74 Metascore
    • 75 Roger Moore
    That’s Hutton’s gift of “Lapsis,” a puzzling picture that challenges, leaves out “all the answers” and serves up Tony Soprano-lite as our intrepid, in-over-his-head tour guide through a hell of our own creation.

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