Roger Moore

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McClatchy-Tribune News Service, Orlando Sentinel, Movie Nation
For 6,463 reviews, this critic has graded:
  • 35% higher than the average critic
  • 12% same as the average critic
  • 53% lower than the average critic
On average, this critic grades 9.7 points lower than other critics. (0-100 point scale)

Roger Moore's Scores

  • Movies
  • TV
Average review score: 56
Highest review score: 100 Dunkirk
Lowest review score: 0 Mike Boy
Score distribution:
  1. Positive: 3,255 out of 6463
  2. Mixed: 1,344 out of 6463
  3. Negative: 1,864 out of 6463
6463 movie reviews
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    • 94 Metascore
    • 50 Roger Moore
    Call Me by Your Name
    Call Me by Your Name isn’t so much a bad movie as a dull, bloated one, a tale of teen sexual intensity drawn out beyond the point of holding our interest, footnoted with all these spoken (repeatedly, by one and all) provisos — “This is OK because…” That’s all well and good, but I found it lacking as drama (no parental conflict), romance and period piece, a turgid potboiler overheated under the Tuscan sun.
    • 92 Metascore
    • 50 Roger Moore
    De Humani Corporis Fabrica
    The surgeries shown here, organs in their place in the crowded human body, functioning or failing, is indeed eye-opening. But the film’s structure is, as an ancient Roman critic would have put it, inportunum et inordinatum.
    • 91 Metascore
    • 50 Roger Moore
    Saint Omer
    While there are things to be explored and pondered in drab “Saint Omer,” Diop’s organization of her message and lack of prioritization of simple courtesy-to-the-viewer information we need in order to follow the story and answer that fundamental question, “What the hell is this thing about?” leaves a lot to be desired.
    • 84 Metascore
    • 50 Roger Moore
    Star Wars: Episode VIII - The Last Jedi
    Intentions and inspiration aside, Last Jedi doesn’t add up to an “Empire Strikes Back” for this trilogy. There’s no romance, little pathos and no real punch-in-the-gut moment. Its emotionally sterile tone was set with “The Force Awakens,” and that’s proven hard to shake, new innovations and plot twists aside.
    • 91 Metascore
    • 50 Roger Moore
    Anora
    Anora lacks the raw emotion, street energy and urgency of Baker’s transgender romp “Tangerine” — and the pathos of his acclaimed peek at childhood homelessness in the “paradise” of “The Florida Project.”
    • 47 Metascore
    • 50 Roger Moore
    Ride Like a Girl
    The whole affair plays as muzzled, truncated and incomplete — a ten furlong dash through a two mile (16 furlong) race.
    • 60 Metascore
    • 50 Roger Moore
    The Perfection
    With each rewind, the picture locks-up and we disconnect with what’s going on, and more importantly, with the characters. Which renders the minimalist promise of The Perfection a promise largely unfulfilled.
    • 90 Metascore
    • 50 Roger Moore
    Paterson
    Anybody familiar with Jarmusch’s work will recognize his static style — the muted long conversations, the quiet, the storytelling largely lacking in incident, melodrama or narrative drive. Longtime fans will wonder where the humor is.
    • 89 Metascore
    • 50 Roger Moore
    Killers of the Flower Moon
    Scorsese has delivered an ordeal pretty much guaranteed to leave a bad taste in your mouth, one that in this case plays as pedestrian and repetitive, and never feels like an “epic.”
    • 89 Metascore
    • 50 Roger Moore
    Marty Supreme
    In Safdie’s film, all this expended on screen energy and effort isn’t edifying or rewarding. It’s just exhausting.
    • 88 Metascore
    • 50 Roger Moore
    Anomalisa
    Alternately daring and dull, inventively animated, intimate and yet impersonal, it’s challenging enough to turn off most.
    • 51 Metascore
    • 50 Roger Moore
    In a Relationship
    Too much of what is here feels like filler, not advancing the plot or our understanding of the characters as this cast performs them, not sparkling enough to lift the rom-com beyond “adequate.”
    • 88 Metascore
    • 50 Roger Moore
    Train Dreams
    For all its attempted ethereal touches, Train Dreams never settles on a track that delivers one.
    • 88 Metascore
    • 50 Roger Moore
    A Star Is Born
    Musically sharp and dramatically flat, the latest version of A Star is Born starts impressively and falls off sharply, a sudsy, overwrought remake that drowns in its abrupt, perfunctory emotional leaps.
    • 64 Metascore
    • 50 Roger Moore
    Napoleon
    One is left with the gnawing feeling that there isn’t much point to his Napoleon, that there are no messages/warnings for today in his narrative and that maybe his “take” on the character is more superficial than deep, more British monarchist than revolutionary and more set-pieces and romance than historically accurate and insightful.
    • 36 Metascore
    • 50 Roger Moore
    Captive
    Whatever power this piece of writing had over the two of them, Captive fails to capture the magic, hope or whatever made it a best seller.
    • 87 Metascore
    • 50 Roger Moore
    About Endlessness
    While I like the challenge of his self-conscious cinema, I find the urge to go glib every time I encounter one of his films almost too hard to resist.
    • 87 Metascore
    • 50 Roger Moore
    Spider-Man: Into the Spider-Verse
    No, Sony Animation should not have let Spider-Man: Into the Spiderverse out its doors and onto big screens in this blurred, jerky, pixelated condition.
    • 87 Metascore
    • 50 Roger Moore
    My Golden Days
    As a stand-alone film it flirts with utter incoherence.
    • 86 Metascore
    • 50 Roger Moore
    Spider-Man: Across the Spider-Verse
    A mad cinematic jumble of comic book imagery, comic book mimicry, multiverse plotting and ponderous, pandering fan service.
    • 86 Metascore
    • 50 Roger Moore
    Little Men
    Little Men doesn’t come to grips with much of anything, leaving relationships and questions of sexuality and even Leonor’s uncertain future uncertain.
    • 86 Metascore
    • 50 Roger Moore
    The Red Turtle
    It’s all pretty enough, but this is lesser Ghibli, more a “Borrowers” than a “Ponyo,” an animated bauble as hollow as a turtle shell purse.
    • 86 Metascore
    • 50 Roger Moore
    Showing Up
    Showing Up is amiable, pointilistically-observed minutia in which the minutia’s the point. It’s not for everyone, even among those who know art, and know “what I like.”
    • 72 Metascore
    • 50 Roger Moore
    Infinity Pool
    The shocks — drunken montages of murderous and carnal abandon, gooey, intertwined and ugly — are entirely the point. Whether they make sense, illuminate the human condition or “entertain” is almost immaterial.
    • 86 Metascore
    • 50 Roger Moore
    One Fine Morning
    It’s about stasis, death and personal rebirth, not consequences or collateral damage. It suffers from those omissions.
    • 43 Metascore
    • 50 Roger Moore
    Maze Runner: The Scorch Trials
    Starts at a sprint and hurtles at us for a good long, stretch, before it stops to catch its breath.
    • 85 Metascore
    • 50 Roger Moore
    Passing
    Passing almost passes muster by virtue of its two winning leads. If only Hall had given them fireworks to play and a world that feels more vibrant than a faded black and white photograph.
    • 85 Metascore
    • 50 Roger Moore
    Everybody Wants Some!!
    Everybody Wants Some!! is just Linklater showing he can still summon up the immaturity to do a film like the ones he did when he had no name, no polish and was just starting out...This is the sort of movie he’d have made had he never grown as a filmmaker, if he’d only been a one-trick indie cinema pony, like Kevin Smith. And the world has already decided one Kevin Smith is more than enough.
    • 76 Metascore
    • 50 Roger Moore
    Ghostbox Cowboy
    I was fascinated, but I can’t say I liked Ghostbox Cowboy as much as I enjoyed the films it seems inspired by.
    • 84 Metascore
    • 50 Roger Moore
    Once Upon a Time ... in Hollywood
    It’s indulgent. But we knew that. It’s Tarantino. We come for the indulgence. Once Upon a Time…in Hollywood might be his most self-aware picture yet, a time-burning wallow in 1960s pop culture, fashions and the “magic of the movies.” It’s also misshapen and meandering.
    • 84 Metascore
    • 50 Roger Moore
    Sinners
    Coogler introduces themes, agendas and histories in collision with this film. But once “Sinners” transitions from Black history at a crossroads into straight-up horror, nothing much is made of the Big Ideas in this ungainly mashup of “Ma Rainey’s Black Bottom,” “Crossroads” and “From Dust Til Dawn.”
    • 84 Metascore
    • 50 Roger Moore
    Seagrass
    Seagrass is psychologically interesting, and touching here and there. But one can’t help but get the feeling our filmmaker never got out of the shallows.
    • 57 Metascore
    • 50 Roger Moore
    Adult Beginners
    Byrne and Kroll have a nice estranged sibling chemistry, not up to “The Skeleton Twins,” but in that ballpark.
    • 46 Metascore
    • 50 Roger Moore
    How Do You Know
    Too cute, too star-studded and entirely too long.
    • 83 Metascore
    • 50 Roger Moore
    His Three Daughters
    It’s set up the way Chekhov’s play is traditionally-mounted these days, as an actor’s showcase. That’s just not enough to put His Three Daughters over.
    • 68 Metascore
    • 50 Roger Moore
    The Place Beyond the Pines
    Unwieldy, overlong and overly reliant on melodramatic coincidences, A Place in the Pines is still better than it has any right to be, thanks to its cast.
    • 57 Metascore
    • 50 Roger Moore
    Antlers
    Antlers left me with the feeling of being the work of a top drawer craftsman who never quite reconciles himself to the job, who forgets the “nature’s revenge” theme and leaves the child abuse subtext under-explored, never builds suspense or any sense of rising panic in the town, the school or the sheriff’s department, and yet still manages to deliver a gruesomely good looking film despite all that.
    • 83 Metascore
    • 50 Roger Moore
    RRR
    It’s all in good, violent fun until it gets to be too much and you realize they’re never going to top their big two-hour-mark throwdown.
    • 82 Metascore
    • 50 Roger Moore
    Creed
    At this stage of this saga, you kind of know where it’s going and which emotional buttons will be punched, the ones I predicted way back in 1984 with my little "IV-I.V.” crack. Another two hours and 13 minutes of it, even with decent “Rocky” style (roundhouse punch after roundhouse punch) is hardly merited.
    • 82 Metascore
    • 50 Roger Moore
    Labyrinth of Cinema
    An ambitious, over-reaching film without the budget, polish or will to achieve its aims.
    • 82 Metascore
    • 50 Roger Moore
    War for the Planet of the Apes
    To me, it’s just another “Jurassic World,” technology and production design on a whole new plane, story, dialogue and characters that we’ve seen before (too often), the entire hyped and over-rated enterprise half-forgotten before it hits Netflix.
    • 82 Metascore
    • 50 Roger Moore
    The Lobster
    More a movie that you appreciate and ponder than one you embrace and enjoy. Whatever its intellectual pretensions, I am looking forward to never seeing it again.
    • 82 Metascore
    • 50 Roger Moore
    Certain Women
    Reichardt’s serene, slow style means that even the big incidents in these stories pack no punch.
    • 44 Metascore
    • 50 Roger Moore
    Pain Hustlers
    As the folks in this rise and fall of Pharma Frauds saga could tell you, it’s the third act where all the consequences show up and the piper must be paid. That’s where this story’s make-or-break moments are parked, and there are too few of them to let it get off the screen with as much promise as it opened with.
    • 48 Metascore
    • 50 Roger Moore
    Liam Gallagher: As It Was
    The saving grace of “As It Was” is Gallagher’s saving grace as well, that John Lennon-meets-John Lydon voice, the songs he wrote or co-wrote that brought him back from the dead, the album that restored his place in British rock.
    • 81 Metascore
    • 50 Roger Moore
    Godzilla Minus One
    For long stretches, Godzilla Minus One concentrates on relationships and conversations, which despite their intent, do little to advance the plot or illuminate simply-drawn characters.
    • 55 Metascore
    • 50 Roger Moore
    5 Flights Up
    Nixon scores the film’s one laugh-out-loud moment. Nobody else generates anything more than a weak chuckle.
    • 78 Metascore
    • 50 Roger Moore
    Warfare
    Mendoza’s pitch, to “get it right” and have “real combat vets” have their story told, might be noble in its intention and the tribute (stay through the credits) to their service the film represents. But he and Garland emphasize authenticity over empathy, accuracy over dramatic connection.
    • 81 Metascore
    • 50 Roger Moore
    A Pigeon Sat on a Branch Reflecting on Existence
    Beware of any advertising that labels Andersson “wacky” and this a comedy. Even by deadpan Swedish standards, this is pretty dry.
    • 51 Metascore
    • 50 Roger Moore
    A Man Called Otto
    If you have any recollection of the original film at all, it’s too easy to note that scene by scene, character by character and plot element by plot element, they remade it slightly less funny and somewhat less touching in most every regard.
    • 62 Metascore
    • 50 Roger Moore
    The King
    The King is something of a tin-eared bore and a massive waste of time.
    • 79 Metascore
    • 50 Roger Moore
    Furiosa: A Mad Max Saga
    It begins with grand promise and achieves spectacle — via digitally-assisted stunts, explosions, etc. — on a scale that raises the bar on popcorn pic action. If only it all seemed justifiable and logical.
    • 66 Metascore
    • 50 Roger Moore
    Devotion
    Director J.D. Dillard’s film, “inspired by” the “true story” of Jesse L. Brown, a color-barrier-breaking pilot for the U.S. Navy, may be a straight up B-movie, from its lesser known cast to story beats that flirt with war movie tropes and over-the-top hokum. But it sure looks like an A-picture.
    • 37 Metascore
    • 50 Roger Moore
    Charlie St. Cloud
    The movie's central gimmick isn't enough, and when more supernatural twists that don't play by the movie's own fantasy rules kick in, it lost me.
    • 81 Metascore
    • 50 Roger Moore
    Glass Onion: A Knives Out Mystery
    Writer-director Rian Johnson returns to the scene of the triumph with Glass Onion: A Knives Out Mystery, and finds the going a bit slower, the supporting cast less colorful, less venomous and less star-studded and the mystery quite a bit duller than the last time around.
    • 81 Metascore
    • 50 Roger Moore
    A White, White Day
    I didn’t fall for the surfeit of mood manipulation that opens A White, White Day. All that time-lapse stuff and its ilk is a nice contrast to the shock and action that takes over the third act. They’re just a very dull way of managing that.
    • 80 Metascore
    • 50 Roger Moore
    Western Stars
    Western Stars isn’t misguided. It’s just dull and self-serious. But if you’re Bruce Springsteen, nobody around you’s going to point that out.
    • 47 Metascore
    • 50 Roger Moore
    Midway
    “Not awful” is Emmerich’s victory, here.
    • 80 Metascore
    • 50 Roger Moore
    Wake Up Dead Man: A Knives Out Mystery
    There are a few laughs and some chewy turns (Brolin, mainly) to sink our teeth into. But “Wake Up Dead Man,” for all its St. Paul Blinded on the Road to Damascus “case of pink-eye” zingers, doesn’t amuse enough to dazzle, and doesn’t get the best out of a cast that deserves better.
    • 68 Metascore
    • 50 Roger Moore
    Z for Zachariah
    New Zealand and West Virginia provide the striking settings, and you can almost see what the cast saw in this as promising and meaty. But the script skips past deeper debates and doesn’t deliver much in the line of fireworks for the love triangle.
    • 80 Metascore
    • 60 Roger Moore
    Casino Royale
    Casino Royale is just swell when Bond is busting up bathrooms in Prague, busting up embassies in Madagascar and busting a move in Nassau. But when he gets to, well, Casino Royale (here, in the former Yugoslav Republic of Montenegro), the film goes utterly flat.
    • 80 Metascore
    • 50 Roger Moore
    Ad Astra
    Ad Astra (Latin for “To the Stars”) has dazzling eye candy and reasonable extrapolations of what near future space colonization might look like...But like too many imitation “Space Odysseys,” it flunks that most basic test applied to science fiction of this nature. It doesn’t make us care what happens, and I, for one, don’t care to see it again.
    • 80 Metascore
    • 50 Roger Moore
    Monrovia, Indiana
    Wiseman has filmed and under-edited what amounts to a public record of a sliver of a village captured at one moment in time, playing up the boredom, celebrating the pace of life yet never noting its problems or discovering its charms.
    • 80 Metascore
    • 50 Roger Moore
    Star Wars: Episode VII - The Force Awakens
    The Force Awakens boils down to a couple of genuine lump-in-the-throat moments, and those are due to nostalgia. The rest? Seen it, done it, been there, and remember it — even though it was “a long time ago.”
    • 70 Metascore
    • 50 Roger Moore
    Chapter & Verse
    The conventions of the “fresh out of prison” drama are long-established. But they’re recycled, to good effect, in Chapter & Verse, a well-acted genre picture that suffers only from a chronic inability to surprise.
    • 62 Metascore
    • 50 Roger Moore
    The Valet
    Derbez remains a likable presence, and that’s the highest praise you can throw at “The Valet” in the feeble hope that it sticks. But even “likeable” wears out its welcome when the story hits the wall at the 60 minute mark, and there aren’t enough jokes to fill a single sitcom episode.
    • 80 Metascore
    • 50 Roger Moore
    Aquarela
    It’s stunning stuff. But lacking a story, per se, and with no narrative drive, Aquarela is almost sleep-inducing, like a loop playing on super-high-resolution video on the screen.
    • 80 Metascore
    • 50 Roger Moore
    I Am Not a Witch
    Movies from Zambia, especially one with a Welsh connection, are an exotic and rare thing. But while there’s novelty and promise to Nyoni’s little-girl-trapped tale, it tumbles into incoherence too early to merit endorsement.
    • 80 Metascore
    • 50 Roger Moore
    Exhuma
    The third act has higher stakes and violence and rituals that race against a clock. But by then the story’s spell has dissipated, and any hope the tale might twist into something scarier, sadder or funnier is long gone.
    • 80 Metascore
    • 50 Roger Moore
    Jezebel
    This is so perfunctory and edge-free that it plays as incomplete, a movie “talked” into great reviews by hearing the filmmaker’s personal connection to the story.
    • tbd Metascore
    • 50 Roger Moore
    Heart of the Hunter
    Heart of the Hunter strains to get out of its own way, a provocative action picture that wants to sprint and can’t stop stumbling and getting distracted all the way from the starting gun to the finish line.
    • 79 Metascore
    • 50 Roger Moore
    Annihilation
    A movie worth seeing, worth mulling over, but not necessarily enjoyed.
    • tbd Metascore
    • 50 Roger Moore
    Ghost Light
    Theater fans will bask in the knowing glow of “theater types” and offstage ensemble shenanigans. If only there were more of them for everybody to giggle at and feel invited to the party. Because curse or no curse, Ghost Light is never more than a “brief candle.”
    • 79 Metascore
    • 50 Roger Moore
    Babygirl
    The finale Reijn slaps on Babygirl seems a cop-out afterthought.
    • 79 Metascore
    • 50 Roger Moore
    Silence
    It has maddeningly unsatisfying theological debates, scrupulous though myopic period detail and an utter lack of narrative drive.
    • 40 Metascore
    • 50 Roger Moore
    The Last Word
    It’s no use wishing The Last Word had come out better. But with plenty of examples of failed-films aimed at an older audience to compare it to, an “I’ve seen worse” makes for some consolation.
    • 79 Metascore
    • 50 Roger Moore
    Walking Out
    The scenery is startling and the cinematography by Todd McMullen striking.
    • 61 Metascore
    • 50 Roger Moore
    Rosaline
    You’d think with the director of “Yes, God, Yes” (Karen Maine) behind the camera, this comedy would take flight. Too much of what’s here stops just short of paying off with a big laugh. Blame the script or the tentative players (aside from Deaver, none of the younger cast members knows how to stick a punchline), but for all its intended charm and hilarity, Rosaline always settles for “ish.”
    • tbd Metascore
    • 50 Roger Moore
    The Act of Reading
    Scattered, indulgent and flat-footed.
    • 79 Metascore
    • 50 Roger Moore
    Official Competition
    As a fan of Cohn and Duprat’s tighter, darker previous collaborations I was keenly aware of the passage of screen time and slack pacing here. “Official Competition” feels like an 80 minute spoof bundled in the gauze of a 115 minute film.
    • 66 Metascore
    • 50 Roger Moore
    Blackpink: Light Up the Sky
    What’s left out of Light Up the Sky is a LOT more interesting than anything we’re shown here. It’d have to be. Because even by the standards of “officially approved” pop phenom bios of the Bieber/Miley variety, this is weak tea.
    • 78 Metascore
    • 50 Roger Moore
    Indignation
    Those scenes with Letts are worth the price of admission, even if the movie overall drags, dry and not nearly as droll as Roth must have intended.
    • 46 Metascore
    • 50 Roger Moore
    The Sleepover
    Sleepover is cheerful enough that it passes the time, even as that time passes ever-so-slowly as it stumbles for clues, through a Boston sight gag or two and into the “big finish” that’s more a series of minor busts. Leave this one to the tween-and-unders.
    • 64 Metascore
    • 50 Roger Moore
    Queen of the Ring
    Whatever its sluggish pace and stumbling grasp of time, Queen of the Ring still manages to be a fine vehicle for making a case for women’s equality in a period piece that more than gives this sport and that period in time its due.
    • 78 Metascore
    • 50 Roger Moore
    The Card Counter
    Schrader’s made a long meditation on something that’s right up his alley, and it still feels incomplete while it’s in progress, and even in the final reckoning.
    • 78 Metascore
    • 50 Roger Moore
    One of Us
    We expect documentaries to tell us the ugly, unvarnished truth, although that’s generally a futile hope and a goal rarely achieved. In this case, selective editing stigmatizes its heroine and avoids the more interesting wrinkles in the story, which — difficult as it was to tell — feels incomplete.
    • 78 Metascore
    • 50 Roger Moore
    The Chronology of Water
    The Chronology of Water” can be more soberly appreciated on general release for Poots’ fearless, put-it-all-out-there performance than for Stewart’s early missteps and her exploitive mania for the explicit and the repellent, “truth” or fiction.
    • 46 Metascore
    • 50 Roger Moore
    Damsel
    Some of it plays, some of it doesn’t. Brown isn’t bad, although her character’s coming into her own is so preachy and self-empowering that it’s eye-rolling time.
    • 58 Metascore
    • 50 Roger Moore
    Blink of an Eye
    That points to the biggest shortcoming of Blink of an Eye. It’s a seriously unchallenging documentary, one that has no contrary voices suggesting why Waltrip never won before Earnhardt took him on (More hard luck? Nobody says so, nobody asks.) and as it lapses into hagiography, borders on “NASCAR Sanctioned” and “Official Myth-Burnishing.”
    • 78 Metascore
    • 50 Roger Moore
    We're All Going to the World's Fair
    The lack of frights and jolts and general mesmerizing tone of We’re All Going to the World’s Fair make it “horror” only in terms of the mood. It feels more like a stab at social commentary and satire.
    • 78 Metascore
    • 50 Roger Moore
    High Life
    It’s not entertaining. It’s discomforting at times, and at others obtuse and downright icky. But it does leave you with a little to chew on, if somewhat less that its creator presumes.
    • tbd Metascore
    • 50 Roger Moore
    The Invisible Thread
    Clutter aside, it’s a likeable, well-intentioned mess of a comedy, one that’ll leave you with the warm fuzzies even if it loses the “thread” once, twice or thrice along the way.
    • 59 Metascore
    • 50 Roger Moore
    The Retreat
    The Retreat may be horror by the numbers, but there are solid reasons these character types and story tropes are recycled, again and again. As they teach you in horror film school, they endure because they work, even if they don’t have a prayer of surprising anybody as they do.
    • 77 Metascore
    • 50 Roger Moore
    Buzzard
    Think of Marty as an R-rated Napoleon Dynamite — foul-mouthed, irritating, irritable, self-absorbed and clueless. He’s also a bit dangerous, the personification of the bird that gives his filmed story its title — Buzzard.
    • 77 Metascore
    • 50 Roger Moore
    Better Man
    After the first blush of how cute this conceit is . . . Better Man becomes a simple catalog of pop stardom clichés.
    • 37 Metascore
    • 50 Roger Moore
    Echo Boomers
    But Echo Boomers — terrible title, BTW — can’t get by on echoes of better thrillers that covered the same ground. And betting on Schwarzenegger making the family name an acting dynasty seems like a long shot, even in a business known for its nepotism.
    • 77 Metascore
    • 50 Roger Moore
    The Twentieth Century
    I’m inclined to cut The Twentieth Century slack for sending me on a deep Wiki dive into Canadian history, and the visual inventiveness and perverse camp of it all. But Maddin got there first, and his movies didn’t feel this gassed for the last half hour.
    • 34 Metascore
    • 50 Roger Moore
    Beyond the Reach
    The folks re-adapting White’s book for Beyond the Reach tamper and tinker with perfection — a little overly convenient cheating here, a contrived finale that goes wrong and then goes more wrong. The film staggers under these blows and never really recovers.
    • 77 Metascore
    • 50 Roger Moore
    The Beguiled
    Coppola stripped the tale, cut the length, eschews menace and goes easy on the malice, which made the earlier version of the story work. Even as an arch, serio-comic female revenge fantasy, this Beguiled fails to cast the necessary spell.
    • 43 Metascore
    • 50 Roger Moore
    Violet & Daisy
    Fletcher and his players never quite hit on a tone that works. Fantastical dream sequences and side trips to the store to get “more bullets” never quite rise to the level of wry commentary. This just isn’t as cute and funny as Fletcher seems to think it is.
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