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.
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