Roger Moore

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McClatchy-Tribune News Service, Orlando Sentinel, Movie Nation
For 6,467 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: 3,257 out of 6467
  2. Mixed: 1,344 out of 6467
  3. Negative: 1,866 out of 6467
6467 movie reviews
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    • 27 Metascore
    • 50 Roger Moore
    The Professor and the Madman
    As “unfilmmable” as a movie about men lost in words, attempting to write a dictionary might seem, there is a better picture in this subject, based on journalist/history buff Simon Winchester’s best selling book. Limiting its scope, beefing up the connection between the “consanguineous” correspondents, their letters and their meetings, giving the two men competing agendas (acceptance by academia vs “redemption”) rather than shoehorning both of them into one and losing the “love story” would have been a start.
    • 27 Metascore
    • 25 Roger Moore
    All the Devil's Men
    All the Devil’s Men kills off its most interesting character too soon and traipses past story beats so familiar that taking notes on the film (as I always do) seems superfluous. It’s not a good B-actioner. It’s routine in the extreme.
    • 27 Metascore
    • 25 Roger Moore
    Close Encounters of the Fifth Kind
    It’s a flurry of wild claims, dubious “experts,” Ad hominem attacks on doubt-sewers, aka “fascist demagogues” of “the national security (and media) state,” clip after clip of sci-fi movies mixed in with newsreel footage, cherry-picked “proof” via inter-title quotes from thinkers, scientists and others — read by narrator Jeremy Piven — and endorsements.
    • 27 Metascore
    • 25 Roger Moore
    The Curse of Sleeping Beauty
    The effects — monsters, demons — are mildly chilling. But Josh Nadler’s script is amateurish in the extreme.
    • 27 Metascore
    • 25 Roger Moore
    The Basement
    Every time you think “torture porn” is dead and gone, here comes another blood-and-bludgeoning tale to try and revive it.
    • 27 Metascore
    • 38 Roger Moore
    The Warrior Queen of Jhansi
    She had to be more charismatic than this to inspire over the ages.
    • 27 Metascore
    • 38 Roger Moore
    Terminal
    Veteran second unit director Vaughn Stein (“World War Z,” “Sherlock Holmes”) had access to talent and to people who could finance a film, and proves adept at managing a cohesive, distinct look and feel. But his inept story and fumbling efforts to connect the disparate threads of a tale no one cares about make his actors look bad.
    • 27 Metascore
    • 38 Roger Moore
    Endless
    Whatever variations on a theme this script offers, none of it works without the ache we’re supposed to feel for those torn apart by sudden death. Endless never delivers that.
    • 27 Metascore
    • 25 Roger Moore
    Assassin Club
    The fights are OK, the shootouts nothing to remember, the chases are passable and the killings themselves perfunctory.
    • 27 Metascore
    • 38 Roger Moore
    Little Fockers
    Paul Weitz ("Cirque du Freak," "American Dreamz") takes over as director, and the film shows all the signs of re-shoots and re-edits designed to bring in more characters and perhaps find a few more laughs.
    • 27 Metascore
    • 38 Roger Moore
    I.T.
    It’s all quite predictable — save for the sinister use of the music of Missing Persons — and a trifle bland. But the depictions of password-access mayhem are chillingly real, and Brosnan gets across the helplessness that many his age, all over the world, feel at the new tech and the new rules — no rules at all — threatening his ruin.
    • 27 Metascore
    • 25 Roger Moore
    Fantastic Four
    It’s a joyless relaunch/re-imaging.
    • 26 Metascore
    • 38 Roger Moore
    Change in the Air
    Director Dianne Dreyer and screenwriter Audra Gorman have worked in the business for years — producing, location-managing, etc. They have contacts and “how to get your film made” know-how. What they lacked here was a plot, dialogue, characters or dramatic situations that were worth anybody’s time.
    • 26 Metascore
    • 25 Roger Moore
    War Room
    It’s just a clumsily written, flatly-acted sermon built on some of the same stereotypes that made Tyler Perry rich.
    • 26 Metascore
    • 25 Roger Moore
    Don't Sleep
    Don’t Sleep is heartless, fright-free and, yes — sleep-inducing.
    • 26 Metascore
    • 38 Roger Moore
    Tyler Perry's Temptation
    Cranking out two formulaic movies like this a year show the Atlanta mogul’s true ambition — replacing all those soap operas TV is canceling, two hours at a time.
    • 26 Metascore
    • 38 Roger Moore
    Dolittle
    Sheen and Banderas make their characters fun, but they’re the only ones.
    • 26 Metascore
    • 50 Roger Moore
    Safelight
    Mainly, though, Safelight is just a California tourism travelogue — See Scenic Joshua Tree, Visit the Lighthouses of Southern California. Which we do, in 80 odd-but-not-odd-enough minutes.
    • 26 Metascore
    • 38 Roger Moore
    The Choice
    The Choice is another endless, nearly-sinless-in-the-sun Sparks melodrama, one that benefits from a couple of charming leads and some folksy, down home humor. But that title frames it in tragedy. And that “choice” leaves this tepid romance mired in the maudlin.
    • 26 Metascore
    • 38 Roger Moore
    The Ottoman Lieutenant
    What we’re left with is a botched romance saddled with an over-arching, over-reaching message, one that only the Turks will be quick to embrace.
    • 26 Metascore
    • 0 Roger Moore
    Borderlands
    Borderlands is terrible on every level, a real Dog of August, in movie-lover shorthand.
    • 26 Metascore
    • 25 Roger Moore
    The Reunion
    The action is wan, the laughs hard to come by.
    • 26 Metascore
    • 0 Roger Moore
    Madame Web
    Madame Web is joyless, a “Jonah Hex” level disaster of a comic book movie.
    • 26 Metascore
    • 25 Roger Moore
    Hell Fest
    The killings aren’t particularly gripping, there’s little suspense in the earliest ones and the menace is pretty watered down for much of the movie.
    • 26 Metascore
    • 38 Roger Moore
    No Good Deed
    Would No Good Deed have anything worth talking about without the Ray Rice sucker punch tie-in? Barely.
    • 26 Metascore
    • 38 Roger Moore
    Isabelle
    It all feels like a story and characters and plot resolution that we’ve seen scads of times before.
    • 26 Metascore
    • 38 Roger Moore
    The Squeeze
    The plot and characters really do make you wonder if the writer-director has experienced the real world, and not just the world as seen in “The Sting” or “Tin Cup” or “The Flim-Flam Man.”
    • 26 Metascore
    • 38 Roger Moore
    Blithe Spirit
    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.
    • 26 Metascore
    • 38 Roger Moore
    Pawn Shop Chronicles
    It’s coherent enough, but entirely too long and unpleasant when it could have been one brutishly edgy hoot after another.
    • 26 Metascore
    • 50 Roger Moore
    Loco Love
    The dialogue is generally bland, though the insults have a seriously racist sting.
    • 26 Metascore
    • 38 Roger Moore
    Stratton
    Because crime thrillers, nut-with-a-knife horror movies, combat films, Westerns and the like are so very familiar, you’ve got to raise the bar on those tropes and action beats just to surprise and impress us. Stratton is a special forces thriller that fails to do that.
    • 26 Metascore
    • 25 Roger Moore
    Freelance
    Raba is a hoot, and even if Csokas isn’t in the bloom of brawling, villainous youth, he gives fair value and he and Brie and Raba and even Cena show commitment to their parts in all this far beyond what this nonsense deserved.
    • 26 Metascore
    • 38 Roger Moore
    Shortcut
    The wheels come off Shortcut pretty much the moment the kids have to flee that bus.
    • 26 Metascore
    • 25 Roger Moore
    The Friendship Game
    Director Scooter Corkle fails to find the frights in this. And it’s not like Damien Ober’s script sets anybody involved up for success.
    • 26 Metascore
    • 38 Roger Moore
    No One Lives
    No One Lives has to give away its biggest, best secret (the killers have messed with the wrong guy) far too early for its own good.
    • 26 Metascore
    • 25 Roger Moore
    Taken 3
    Mills is so clever, he has the cops utterly outfoxed. But he can’t guess where this story is leading as early as the audience does — which is almost instantly.
    • 26 Metascore
    • 38 Roger Moore
    2016: Obama's America
    “Obama’s America” flutters to the ground like so much GOP convention confetti, all assertions, few facts and little substance other than the conspiratorial right wing talking points that are how D’Souza’s makes his living.
    • 26 Metascore
    • 38 Roger Moore
    Innocence
    A stylish, moody and atmospheric tale contorted into a young adult horror story, it never works up a decent fright.
    • 26 Metascore
    • 25 Roger Moore
    Skyline
    Skyline plays like an effects guru's resume reel, not a movie.
    • 26 Metascore
    • 25 Roger Moore
    Rambo: Last Blood
    “Last Blood?” Let’s hope so.
    • 25 Metascore
    • 25 Roger Moore
    The Diabolical
    That lets Diabolical join the burgeoning ranks of half-hearted horror films that most of us don’t get around to watching because there’s not much reward for doing so.
    • tbd Metascore
    • 50 Roger Moore
    Rottentail
    Rottentail is a midnight movie that midnight movie audiences (a little drunk, a bit forgiving and in love with on-screen cheese) can get behind.
    • 25 Metascore
    • 38 Roger Moore
    Case 39
    It's only a movie, and not a remotely effective one. And for Zellweger, whose "Miss Potter" and "Appaloosa" were barely seen, with "Leatherheads" and "New in Town" further deflating her A-list clout, that's the real shame here.
    • 25 Metascore
    • 38 Roger Moore
    Playmobil: The Movie
    The animation’s not bad, the songs aren’t much, the jokes are even less. Tiny, tiny tykes might find something to like about it. But long-review-short here — it’s too dull to sit through, too noisy to sleep through.
    • 25 Metascore
    • 38 Roger Moore
    Alina
    It’s a short drama that lurches through assorted abrupt changes in tone, temperament and relationships.
    • 25 Metascore
    • 25 Roger Moore
    The Identical
    A musical mashup of Elvis and Jerry Lee Lewis biography and myth, The Identical plays like a failed faith-based “Inside Llewyn Davis.” And that’s the closest thing to a compliment it will get.
    • 25 Metascore
    • 38 Roger Moore
    Legends of Oz: Dorothy's Return
    A harmless but almost charmless adaptation of a book by L. Frank Baum’s grandson.
    • 25 Metascore
    • 38 Roger Moore
    Moms' Night Out
    Mom’s Night Out sets itself up for laughs that it rarely delivers.
    • 25 Metascore
    • 38 Roger Moore
    My Dead Boyfriend
    And Graham? Still wearing the short shorts, the shorter skirts, the knee socks and the wider than wide eyes. She and My Dead Boyfriend aren’t exactly bad, they’re just out of place and out of time. But at least she’s not playing another hooker.
    • 25 Metascore
    • 38 Roger Moore
    Love Is Blind
    A romantic comedy that could not be more “twee” if it tried.
    • 25 Metascore
    • 38 Roger Moore
    When in Rome
    Bell, a petite, pretty blonde, may or may not have the Meg Ryan-Julia Roberts-Sandra Bullock goods. When in Rome, a leaden variation on that rom-com recipe, fails utterly to make her case.
    • 25 Metascore
    • 50 Roger Moore
    The Letters
    A movie that won’t convert anyone, a film for the faithful who want to believe nothing but the best about Mother Teresa. Real life is rarely cut and dry, and dramatically flat, as this.
    • 25 Metascore
    • 38 Roger Moore
    The Music of Silence
    An old fashioned, corny film hagiography that may please the most ardent fans, who will be more tolerant of its lax pacing and high cheese content.
    • 25 Metascore
    • 38 Roger Moore
    R.I.P.D.
    The worst comic book adaptation since “Jonah Hex.”
    • 25 Metascore
    • 50 Roger Moore
    Cold Blood
    I’m still a big fan of the actor, not much of a fan of Cold Blood.
    • 25 Metascore
    • 25 Roger Moore
    My Soul to Take
    This waking nightmare from the "Nightmare on Elm Street" creator is a puzzle with no solutions, a tale with a twist that isn't a twist at all.
    • 25 Metascore
    • 38 Roger Moore
    Rings
    None of the cast brings anything like genuine terror or urgency to the proceedings. Only Vincent D’Onofrio, making a third act appearance, acquits himself with honor.
    • 25 Metascore
    • 25 Roger Moore
    Me Time
    It doesn’t work. It should have, but it doesn’t, despite Hart’s best efforts.
    • 25 Metascore
    • 50 Roger Moore
    Americons
    Veteran character actor McMurray has the best speeches and most interesting scenes, making his CEO a class warrior and a master of “the illusion” of “The American Dream.” The details are different, but the bottom line is so overly familiar as to make Americons feel, too often, like a movie we’ve seen before and a strident lecture we’re never going to pay attention to until the bottom drops out again.
    • 25 Metascore
    • 38 Roger Moore
    Viking Destiny
    In the end, “Viking” finds its destiny to be kind of a half-finished, half-financed and half-hearted Viking saga, with only the arrival of the Irish vegetarian hippies led by Indiana Jones’ nemesis, Belloq, to delight us.
    • 25 Metascore
    • 25 Roger Moore
    Other People's Children
    Movies that dabble in homelessness, even movies about cute filmmakers who want to film and flirt with the homeless, require more commitment than this. No number of scenes featuring a nubile nude can countermand that.
    • 25 Metascore
    • 38 Roger Moore
    Strange Magic
    A cartoon fantasy cooked up from a half-baked idea from George Lucas.
    • 25 Metascore
    • 50 Roger Moore
    Abduction
    Abduction puts Lautner in motion and never goes very far wrong as long as he remains in motion.
    • 25 Metascore
    • 38 Roger Moore
    Shut In
    Naomi Watts deserves better than this. So does Oliver Platt. So do we.
    • 25 Metascore
    • 50 Roger Moore
    Savannah
    Savannah gets by on touches of grace and spirited performances, especially by Caviezel. After being so serious for so very long, it’s great fun to see him take on a “genuine character” with all the boozing, brawling and shooting that entails.
    • 25 Metascore
    • 38 Roger Moore
    Gods of Egypt
    There’s a long year ahead of us, but Gods of Egypt is going to stand out as one of the sillier, more puzzling big budget, special-effects driven period pieces to come out.
    • 24 Metascore
    • 38 Roger Moore
    Apollo 18
    Whatever merits the production values have, the cheap frights don't deliver, the performers bring no pathos and the gimmick behind Apollo 18 flat out does not work.
    • 24 Metascore
    • 50 Roger Moore
    The Loft
    It all sort of comes apart in an orgy of clumsy over-explanation that doesn’t truly explain anything. But the quintet is well-cast.
    • 24 Metascore
    • 25 Roger Moore
    Between Worlds
    Between Worlds is a down and dirty supernatural thriller with the faintest veneer of substance covering the sordid.
    • 24 Metascore
    • 25 Roger Moore
    Playing with Fire
    Every wrinkle in the plot is nakedly contrived, an obvious screenplay convenience. Every gag is given away. Every one-liner vanishes into the void. Kids may love projectile poop gags, but even they should be able to smell the odor Playing with Fire puts out there.
    • 24 Metascore
    • 38 Roger Moore
    Gotti
    It’s a bad movie, but it has hints of the simplest failing of a lot of movies made by folks who come from long-form TV. It’s episodic to a fault, with no episodes fleshed out and developed, characters played by actors at least as interesting as Chris Mulkey (as underboss Frank DeCicco) and not the generic goombahs rounded up here.
    • 24 Metascore
    • 50 Roger Moore
    Chloe and Theo
    Chloe and Theo feels like Dakota Johnson’s atonement for the meretricious slime that was “Fifty Shades of Grey.”
    • 24 Metascore
    • 38 Roger Moore
    American Dresser
    The pleasures of some good acting by Berenger and David, Gina Gerhon and Bruce Dern doesn’t overcome the overfamiliarity of the journey, the stops along the way and the late life lessons learned as they “keep the chrome up,” or try to. It’s tired in every sense of the word.
    • 24 Metascore
    • 38 Roger Moore
    Knucklehead
    Director Michael W. Watkins, whose decades of TV credits go back to "Quantum Leap," manages one clever visual gag - a bus wreck, observed from the far side of a cornfield. We hear a crunch, see a telephone pole wobble and a little puff of smoke. Then Watkins blows the moment with a fiery overkill.
    • 24 Metascore
    • 25 Roger Moore
    Holmes & Watson
    It’s just not funny.
    • 24 Metascore
    • 38 Roger Moore
    Dark Crimes
    Carrey doesn’t deliver any sizzle in this role. Csokas chews him right out of their scenes, and the always soulful Gainsbourg (“Nymphomaniac,” “Antichrist”) lets us think we’re looking right into her horrific past, even if this dull, obvious “mystery” doesn’t seem worthy of any of their talents.
    • 24 Metascore
    • 25 Roger Moore
    Saw 3D
    Any signs of life the series showed in the last installment (Saw VI), a dash of humanity here and there, were premature.
    • 24 Metascore
    • 38 Roger Moore
    The Virtuoso
    It’s the sort of film that starts out bad and occasionally lapses into awful, largely thanks to a dull lead and the fact that the script has him narrating, in voice over, his every move in the second person.
    • 23 Metascore
    • 25 Roger Moore
    Home Team
    I think I laughed once.
    • 23 Metascore
    • 38 Roger Moore
    Furry Vengeance
    On the sliding critter-comedy scale, Furry Vengeance falls somewhere between the Chipmunks and the Chihuahua (the one from Beverly Hills).
    • 23 Metascore
    • 50 Roger Moore
    Collateral Beauty
    If “Collateral” fails to move you — and it might, because I was untouched — it may have to do with the clumsy clockwork machinations of a script that has to make its entire unholy and unethical premise seem “logical” and understandable.
    • 44 Metascore
    • 38 Roger Moore
    Hooking Up
    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.
    • 23 Metascore
    • 50 Roger Moore
    The Snowman
    It’s “Dragon Tattoo” complicated, without that one writer who could thin the material out, discerning between what is important and what should be treated as subtext, and cast accordingly.
    • 23 Metascore
    • 38 Roger Moore
    Jack and Jill
    Then there's Pacino, out-of-place and yet somehow right at home. You want big? Al does BIG. And since is as close as we're likely to get to "Don Corleone Does Don Quixote," that alone is worth the price of admission.
    • 23 Metascore
    • 38 Roger Moore
    The Second Sun
    A crushing bore of a screen romance starring one of writer Norman Mailer’s nine children.
    • 23 Metascore
    • 25 Roger Moore
    Underworld: Blood Wars
    The action beats are barely passable — glitchy, pixelated jerks in the digitally-augmented jumps, punches, etc. The production design — dark on dark, all the better to hide the bored actors.
    • 23 Metascore
    • 25 Roger Moore
    The Roommate
    A timid thriller that manages a couple of mild jolts and a couple of creepy-cringe-worthy moments in its Variations on a "Single White Female" theme.
    • 23 Metascore
    • 25 Roger Moore
    I'm in Love with a Church Girl
    It’s a film of limp police procedures — stake outs that aren’t really clandestine, generic prison scenes, interrogations by underlines that suggest the leading players weren’t available on set for the entire day.
    • 23 Metascore
    • 38 Roger Moore
    The Cobbler
    Whatever McCarthy hoped to do with this thin story and star casting, all he ended up with was another average Sandler movie — not as bad as some, no better than most.
    • 23 Metascore
    • 38 Roger Moore
    Hansel and Gretel: Witch Hunters
    Hansel & Gretel: Witch Hunters is more Gatling guns and grenades than The Brothers Grimm.
    • 22 Metascore
    • 38 Roger Moore
    The Bounty Hunter
    Aniston doesn’t bring her old A-game to this. But at least she’s not quiet and reserved and no-energy, her approach to too many roles of late. Butler makes the most of his Neanderthal rut.
    • 22 Metascore
    • 38 Roger Moore
    The Do-Over
    Do-Over is “Grown-Ups” with guns. And with no Colin Quinn or Chris Rock or Rob Schneider or Norm McDonald or Kevin Nealon.
    • 22 Metascore
    • 38 Roger Moore
    Reagan
    Quaid’s impersonation is solid, and makes one wish he’d been given the chance to take on a more nuanced version of the title character.
    • 22 Metascore
    • 25 Roger Moore
    Father Figures
    Wow. This is what comic purgatory looks like. Actors, trapped in a laugh-free road comedy called Father Figures — a paying (gullible) audience, slack-jawed in dismay, trapped there with them for two hours.
    • 22 Metascore
    • 25 Roger Moore
    Big Mommas: Like Father, Like Son
    A humorless mashup of "White Chicks" and "Glee."
    • 22 Metascore
    • 38 Roger Moore
    Redemption Day
    Moroccan producer (French TV’s “The Bureau”) turned director Hicham Hajji has no sense of pace, and while he’s got “names” on board, he doesn’t give them much to chew on. The script has these half-hearted efforts to shoehorn third-act twists and political messaging into the picture, but they’re as a limp and obvious as one actor’s feigned southern drawl in the finale.
    • 22 Metascore
    • 25 Roger Moore
    Children of the Corn
    This “Corn” sat on the shelf during COVID lockdown, but we can’t say it went stale during the delay. This was cynical in conception and rotten in execution long before the masks came out.
    • 22 Metascore
    • 25 Roger Moore
    Ripped
    Ripped is the sort of comedy that can ill afford to waddle through an interminable 16 minute prologue with two even less funny actors playing even more blitzed versions of Love and Peters as teens.
    • 22 Metascore
    • 50 Roger Moore
    Home Sweet Hell
    Obvious and jaw-droppingly bloody, it still gives Heigl her funniest role in years.
    • 22 Metascore
    • 38 Roger Moore
    The Legend of Hercules
    At times, with its stiff, charisma-impaired cast, its digital sets and slo-mo slaughter, The Legend of Hercules has a whiff of the Augean Stables about it — if you catch my drift.
    • 22 Metascore
    • 38 Roger Moore
    Getaway
    Maybe they all took a gander at that random, ridiculous scenario and hoped that the car would be cool enough to bail them out. It isn’t.
    • 22 Metascore
    • 38 Roger Moore
    Do You Believe?
    Stripping this to a film with fewer characters, maybe playing up the best actors giving the best performances — McGinley, Lindo, Shwayze and PenaVega stand out — would have helped.
    • 22 Metascore
    • 25 Roger Moore
    Shark Night 3D
    The worst movie of the summer, arriving on the last weekend of the summer.
    • 22 Metascore
    • 38 Roger Moore
    The Tax Collector
    The Tax Collector fails on Ayer’s watch. The script is something of a muddle, with abrupt, illogical turns and too much time spent immersing us in Ayer’s version of LA Latinx culture, with a gang twist.
    • 22 Metascore
    • 38 Roger Moore
    God's Not Dead 2
    In a righteous world, the better-acted, upbeat and faith-affirming “Miracles from Heaven” would eat this angry tirade for lunch.
    • 22 Metascore
    • 25 Roger Moore
    The Babysitter: Killer Queen
    Some of the effects are OK, and the night shots around the lake show some sophistication. But the script is utter crap, the performances pro forma and the “threat” even sillier, if bloodier, than it was last time around.
    • 22 Metascore
    • 25 Roger Moore
    Buddy Games
    The script is slapdash and daft, and not in a good way. And you almost feel sorry for Swardson being forced to carry it and set the “teabagging” tone. But the viewer is the victim here.
    • 22 Metascore
    • 50 Roger Moore
    Barefoot
    Barefoot is “Rainman” meets “Benny & Joon.”
    • 22 Metascore
    • 50 Roger Moore
    Blumhouse's Fantasy Island
    I didn’t hate this slaughter-at-the-soap opera reboot. Not until it goes seriously off the rails in the third act, anyway. But don’t get your “torture porn” hopes up with the word “slaughter.” It is PG-13, after all. And this isn’t “Hostel.”
    • 22 Metascore
    • 38 Roger Moore
    Standing Ovation
    Off the wall? Friend, you don’t know off the wall until you’ve seen five twelve-year-old girl singer-dancers cover the Tina Turner/Phil Spector epic “River Deep, Mountain High” in the screwball kiddie dance comedy, Standing Ovation.
    • 22 Metascore
    • 50 Roger Moore
    Exists
    Convincing shaky cam or not, in the end all we’re left with is what we started with, just another bigfoot movie.
    • 21 Metascore
    • 38 Roger Moore
    Reach Me
    An indie comedy whose primary virtue is its cast, well-known actors who took small roles on a lark — a chance to play against “type.”
    • 21 Metascore
    • 38 Roger Moore
    Norm of the North
    The result is a Save the Planet comedy that plays much longer than its 86 minutes.
    • 21 Metascore
    • 38 Roger Moore
    Sextuplets
    The film is, sadly, rarely funny.
    • 21 Metascore
    • 38 Roger Moore
    The Gracefield Incident
    The acting isn’t terrible, though the script at times makes the players seem that way.
    • 21 Metascore
    • 38 Roger Moore
    A Family Man
    Screenwriter Bill Dubuque — forget that name — illustrates Dane’s sense of responsibility and victimhood by scribbling the clunkiest, clumsiest, most tin-eared “sex” scene in the history of the big screen. If that online screenwriting course offers a refund, pal, GRAB it.
    • 21 Metascore
    • 38 Roger Moore
    Geostorm
    Geostorm isn’t “Olympus Has Fallen” or “Gods of Egypt.” It’s no better or worse than any of them, but it gives one little hope for the upcoming “Hunter Killer” or “Den of Thieves” or, for that matter, “Angel Has Fallen,” sequel to “London Has Fallen” which was a sequel to “Olympus Has Fallen.” Butler is in a bad-movie rut.
    • 21 Metascore
    • 25 Roger Moore
    Dirty Grandpa
    It’s exactly what the title portrays it to be — “Grandpa” Robert DeNiro, as potty-mouthed, oversexed and politically incorrect as he’s ever been.
    • 21 Metascore
    • 38 Roger Moore
    Killers
    There’s nobody delivering the laughs in this arid action comedy.
    • 21 Metascore
    • 38 Roger Moore
    The Clapper
    The Clapper isn’t hateful, which is a huge step up for Montiel. It’s merely puerile, insipid, clumsy with only the barest hints of believeability.
    • 21 Metascore
    • 38 Roger Moore
    Just Getting Started
    What it doesn’t have, in any abundance, is laughs. “Started” plays like a Ron Shelton comedy for people too old to enjoy Ron Shelton comedies.
    • 21 Metascore
    • 25 Roger Moore
    Life Itself
    It’s just something some gullible, poorly-read studio exec heard and thought, “I think I’ll spend Jeff Bezos’s millions on THAT.” The fool.
    • 20 Metascore
    • 0 Roger Moore
    Gunslingers
    As the mayhem, six shooters and bad-acting go off all around him, Dorff stands above it all, reminding us that this might have been taken seriously instead of all this vamped bad makeup, acting and screenwriting ineptitude and goofing around by players who figure they’re better than this.
    • 20 Metascore
    • 50 Roger Moore
    Hoodwinked Too! Hood VS. Evil
    The script is a mad, muddled blitz of one-liners and movie references. Some of the animation is a hoot, and a few voice actors stand out.
    • 20 Metascore
    • 38 Roger Moore
    The Seventh Dwarf
    A time-filler for bored 5 year-olds, nothing more.
    • 20 Metascore
    • 25 Roger Moore
    A Haunted House
    For 85 rude and raunchy minutes, he does his best to drive a comical stake through the heart of horror's hottest franchise and the "found footage" genre. He doesn't exactly succeed.
    • 20 Metascore
    • 38 Roger Moore
    Asking for It
    There are moments, here and there, where you can see what a pretty good cast saw in the possibilities of the material.
    • 20 Metascore
    • 25 Roger Moore
    The Last Airbender
    This colossal folly, the fiasco of the summer of 2010 - gives us all a ringside seat at the sight of Mr. "I See Dead People's" career gurgling down the drain.
    • 20 Metascore
    • 25 Roger Moore
    Playdate
    Playdate is perfectly awful, glib in its violence, cavalier about “collateral damage” and packed with what regular family movie watchers might call “Hollywood parenting” — kids who curse, bully and have zero respect for sportsmanship and adults, especially parents.
    • 19 Metascore
    • 38 Roger Moore
    Reprisal
    There’s virtually nothing to distinguish Reprisal from a thousand other cop-vs-robber B pictures, except for the violence.
    • 19 Metascore
    • 38 Roger Moore
    To Save a Life
    Overlong and entirely too ambitious in the number of “issues” it tries to cover, To Save a Life wanders all over the place before reaching its very predictable conclusions.
    • 19 Metascore
    • 38 Roger Moore
    Grown Ups 2
    It’s another pointless romp through Sandlerland — where the women are buxom, the kids have catch-phrases and the jokes are below average.
    • 19 Metascore
    • 25 Roger Moore
    Replicas
    The movie is like Bill Foster’s mad experiment, a dry technical exercise with a functioning heart, but no soul whatsoever.
    • 19 Metascore
    • 38 Roger Moore
    The Ultimate Life
    The performers are more competent than compelling, a common failing of faith-based films. Blame the edge-free, freshly-scrubbed characters that they play. Sadly, even as a safe-for-seniors saga ready-made for The Hallmark Channel, this is pretty thin gruel.
    • 18 Metascore
    • 38 Roger Moore
    The Vanishing Of Sidney Hall
    “Vanishing” is ambitious, but in every trite, pat and melodramatic way you can think of.
    • 18 Metascore
    • 38 Roger Moore
    Behaving Badly
    First-time director/co-writer Tim Garrick has little sense of timing and the movie mainly just lies there, never percolating to life, never living down to its lowdown and lewd promise.
    • 18 Metascore
    • 38 Roger Moore
    The Fanatic
    The Fanatic narrows into a simple character study by Travolta. That’s not enough, and what’s here is as quaint and dated as many of the words that come out of Moose’s mouth.
    • 18 Metascore
    • 38 Roger Moore
    Movie 43
    About a third of the short films land a few laughs. But even the weakest material is lifted by the actors.
    • 18 Metascore
    • 25 Roger Moore
    The Ridiculous 6
    There’s just nothing to this — nothing funny, at least. It’s too long...has some bizarre violence...and is built around another inept-and-doesn’t-care-that-he-is turn by Sandler.
    • 18 Metascore
    • 25 Roger Moore
    Vampires Suck
    If Kristen Stewart ever saw Vampires Suck, she'd be scarred for life.
    • 18 Metascore
    • 38 Roger Moore
    Mother's Day
    An ensemble holiday comedy packed with all the sappy sentimentality and mawkish manipulation that only the old master, Garry Marshall would dare give it.
    • 18 Metascore
    • 25 Roger Moore
    Blood Brother
    Kesy is scary and a bit crazy-eyed, wearing his tats and a grill and carrying himself like a rough customer fresh out of stir. It’s a pity he has to talk so much.
    • 17 Metascore
    • 38 Roger Moore
    Vice
    Vice is a low-budget sci-fi thriller that borrows heavily from “Blade Runner” and “Westworld,” and serves as an answer to the question “How much movie can you get when you shoot your $10 million film in Mobile, Alabama? The answer is, quite a lot — with modernist buildings, striking control room sets and the city’s docks serving as a backdrop.
    • 17 Metascore
    • 38 Roger Moore
    Samson
    It’s a visually and dramatically flat picture in which the co-directors just check off the touchstones in Samson’s storied career, lurching forward, parking him in reasonably rustic settings with tunics and smocks and sometimes shirtless. There’s little character arc, and even less story arc.
    • 17 Metascore
    • 50 Roger Moore
    Best Night Ever
    The saving grace of this more-rude-than-funny film are its cast. They’re just a quartet of Simi Valley “Woohooo” girls in the opening, but the players make each member of this motley crew distinct, human and out of her depth. And Janet (Flanagan)? You’ll want to party with her.
    • 17 Metascore
    • 25 Roger Moore
    Overcomer
    There’s just nothing here. Even as comfort food for true believers, Overcomer cannot overcome its myriad shortcomings.
    • 17 Metascore
    • 38 Roger Moore
    All's Faire in Love
    Give it points on setting and a couple of the performances, but the joke-starved All's Faire in Love only rarely rises to the level of fair to middling.
    • 16 Metascore
    • 25 Roger Moore
    Black Water
    What all involved, including cinematographer-turned-director Pasha Patriki, settle for is easier, dumber and far less interesting, a movie that lives down to its vague, murky title with endless shootouts through sets that don’t remotely resemble what this prison is supposed to be.
    • 16 Metascore
    • 38 Roger Moore
    London Fields
    It’s a neo-noir murder mystery capturing Heard at peak femme fatale in a tale observed, manipulated and told by a struggling writer (Billy Bob Thornton) for “the chaos.” “Chaos” doesn’t quite sum up the movie. But almost.
    • 16 Metascore
    • 38 Roger Moore
    God's Not Dead
    The pace is stumbling, the characters are broad, the makeup and the performances uneven, though Sorbo dives into his tactless, unethical indoctrinator role with Satanic glee.
    • 16 Metascore
    • 25 Roger Moore
    ClownTown
    Every guy in this thing who isn’t in clown makeup is as bad as the ridiculous, obvious and disjointed script they’re trying to play.
    • 15 Metascore
    • 25 Roger Moore
    The Last Days of American Crime
    The caper is routine, the twists don’t — twist. “American Crime” just lies there, a corpse awaiting reanimation that never comes.
    • 15 Metascore
    • 38 Roger Moore
    America: Imagine a World Without Her
    What he’s doing, it turns out, is lowering the viewer’s standards of proof for a vigorous return to “2016″ territory, a hatchet job on Obama and Obamacare that tries to tie everything to a 1960s “radical” organizer who might have influenced the president.
    • 14 Metascore
    • 50 Roger Moore
    City of Dreams
    Ramchandani delivers a dazzling third act chase, on foot, through L.A.’s sweatshop district, a nervy, hand-held sprint that finally gets this static story up on its feet.
    • 13 Metascore
    • 25 Roger Moore
    Paul Blart: Mall Cop 2
    Sequels are cynical by nature, but this one, with its casino product placement ad and director Andy Fickman apparently checking his text messages instead of trying to punch the limp gags into shape, is purely a paycheck. James may not deserve better, but the kids they’re pitching this to do.
    • 12 Metascore
    • 38 Roger Moore
    I Hate Kids
    The sentimental stuff half-works, but “Kids” never works up any silly sense of “Hate.” Without that conviction, the characters don’t make sense, the scenes don’t set up a debate that sets off sparks and I Hate Kids plays like “Actually, I’m not all that keen on kids.”
    • 12 Metascore
    • 38 Roger Moore
    Left Behind
    It’s inoffensive, unless you take umbrage at the idea that the only people who know not to steal are True Believers and all that keeps society from an instant meltdown are the Faithful.
    • 12 Metascore
    • 25 Roger Moore
    The Emoji Movie
    But a cluster of screenwriters found barely a single laugh in this wayward tale of a “Meh” face emoji in search of reprogramming. Not a one.
    • 11 Metascore
    • 75 Roger Moore
    The Final Project
    Final Portrait is a slight little nothing of a story, but I delighted in its wordplay, its depiction of a Paris as imagined in the greys and dull browns of Giacometti’s art.
    • 11 Metascore
    • 25 Roger Moore
    Persecuted
    A confused and confusing thriller.
    • 11 Metascore
    • 38 Roger Moore
    Love, Weddings & Other Disasters
    A couple of random laughs die of loneliness here. None of the romances are developed and have time to register, much less click. And here’s Dugan, squinting at the cue cards, energetically serving up the awful double-entendres as host of a show no one would watch unless creepy grandpa the host was a LOT creepier and funnier.
    • 11 Metascore
    • 25 Roger Moore
    Scary Movie 5
    Scary Movie 5 comes up short in every way imaginable.
    • 11 Metascore
    • 38 Roger Moore
    Nine Lives
    As crass as it is, I’ve seen worse.
    • 10 Metascore
    • 25 Roger Moore
    Unplanned
    Filmmakers Chuck Konzelman and Cary Solomon pound their points home like Madison Avenue vets, worried if they don’t use a ham for a cudgel, their audience might miss the point.
    • 9 Metascore
    • 25 Roger Moore
    Bucky Larson: Born to Be a Star
    It's an ugly movie to look at and a faintly nauseating one to sit through, truth be told.
    • 9 Metascore
    • 0 Roger Moore
    The Room
    That’s the trick to making a cult film. It can’t just be bad, it has to be memorably so, and The Room is.
    • 9 Metascore
    • 38 Roger Moore
    The Walking Deceased
    It seemed wittier on the page, with the Romeo/Romero puns and know-the-credits jokes with names and characters. Strictly low-hanging fruit, even for a lame horror parody. But after seeing it, you really do wonder if Hollywood will ever make another if they can do no worse with no budget attempts like this.
    • 7 Metascore
    • 0 Roger Moore
    Reality Queen!
    It’s a deathly unfunny comedy, and staggeringly incompetent to boot.
    • 7 Metascore
    • 25 Roger Moore
    Grizzly II: Revenge (1983)
    “Grizzly II” never comes close to “so bad its good,” although there are laughs at how bad it actually is, here and there.
    • 7 Metascore
    • 38 Roger Moore
    Is That a Gun in Your Pocket?
    This is a toothless satire, a sermon lacking the bite or broad wit of similar films.
    • 6 Metascore
    • 0 Roger Moore
    War of the Worlds
    War of the Worlds is bad, almost laugh-out-loud bad, and that “almost” is the killer here.
    • 5 Metascore
    • 25 Roger Moore
    Black Rose
    Plays like an ill-considered vanity project intended for export to Mother Russia. Maybe there, they’ll be willing to ignore the stiff acting, dull directing and story whose ending is guessable almost from the opening credits.
    • 2 Metascore
    • 25 Roger Moore
    Hillary's America: The Secret History of the Democratic Party
    D’Souza, naif to American history that he is, could have done a real service instead of being another right wing Pied Piper leading the lemmings off a cliff. He could have asked “What happened to Our/My Republican Party?” and giving blunt, truth-spoken-to-power answers. He’d rather trash the America that GOP policies in large part created.
    • 1 Metascore
    • 25 Roger Moore
    InAPPropriate Comedy
    There’s a phone app that could text a funnier script than this.
    • 1 Metascore
    • 25 Roger Moore
    Death of a Nation
    Throughout Death of a Nation, which has the usual attacks on Clintons and George Soros and the third act “patriotic performances by D’Souza approved singers, even an African American choir, the man finds himself coddling Nazis.
    • tbd Metascore
    • 63 Roger Moore
    The 5th Quarter
    A generic sports drama, it scores points for being that rare "faith based film" to show a little edge.
    • tbd Metascore
    • 63 Roger Moore
    Bloodworth
    The story isn't particularly organized. It's more a collection of scenes - than a coherent coming-of-age tale.
    • tbd Metascore
    • 63 Roger Moore
    Laugh at My Pain
    If Laugh at My Pain makes people take a second look at this perpetual third banana on the big screen, so much the better.
    • tbd Metascore
    • 50 Roger Moore
    Home Run
    It’s too bad the muted Home Run didn’t take its own advice about being daring and inventive.
    • tbd Metascore
    • 63 Roger Moore
    The Lesser Blessed
    The performances are pretty sharp... But the situations feel contrived, the romantic pairings a bit arbitrary. Strip away the narration, and this would be more cinematic. Take away the setting and this is fairly routine stuff.
    • tbd Metascore
    • 50 Roger Moore
    Between Us
    This is a good cast, but it’s all played at a rather shrill pitch that must work better on the stage. The intimacy of the screen makes it all uncomfortably in our face.
    • tbd Metascore
    • 88 Roger Moore
    Living Is Easy with Eyes Closed
    It’s visually lovely, and the performances are subtle, sunny and sympathetic. Camara lends a playful touch to Antonio’s Beatle-mania.
    • tbd Metascore
    • 38 Roger Moore
    Two-Bit Waltz
    It’s no surprise that a Child of Mamet should have a clever way with a line and wicked sense of when to drop some tasty profanity. But Two-Bit Waltz is amateur theatrics committed to celluloid, a cast of “adorable” eccentrics performing scenes with the precious, remedial chapter titles.
    • tbd Metascore
    • 63 Roger Moore
    The Physician
    The setting and old fashioned structure of the story won’t be to every taste. But The Physician is quite good at recreating its era and reminding us that once, long ago, it was the West that was backward and always looking East for enlightenment, education and a way out of the Dark Ages.
    • tbd Metascore
    • 50 Roger Moore
    Yellowbird
    It all adds up to perfectly banal kids’ entertainment, with just a single decent plot twist, a few cute lines and a tried and a couple of trite and true messages — “Trust yourself” and “stop polluting” stand out.
    • tbd Metascore
    • 38 Roger Moore
    Freetown
    The executions and worst of the violence is kept off camera. The acting varies from passable to rote, wooden recitation. And there’s a hint of humor.
    • tbd Metascore
    • 38 Roger Moore
    Immoral Tales (re-release)
    Visuals tell the “stories,” but not in any sort of brisk, engaging way. It’s a ponderous, dated and obscure male wish-fulfillment fantasy — women as objects in the sexual service of men, the ultimate “girl’s locker room” scene, assorted lesbian moments designed to titillate.
    • tbd Metascore
    • 38 Roger Moore
    Two Hundred Thousand Dirty
    They’re “colorful,” but only barely. The characters are just sketched in and the performances don’t add much to those sketches.
    • tbd Metascore
    • 38 Roger Moore
    Big Muddy
    Big Muddy is a big ol’ muddle of a thriller, a lot of dangerous characters converging, from various parts of the Canadian prairie, on a femme fatale and her teenage son. It’s a modern day Western, a B-movie that founders on a weak leading lady and a stumbling lack of urgency in the direction.
    • tbd Metascore
    • 25 Roger Moore
    Girl House
    The morality tale element is a joke, the love story is feeble and there’s no tension to what’s about to happen or what then begins happening. The script gives away its mysteries.
    • tbd Metascore
    • 50 Roger Moore
    A La Mala
    A la Mala begins with promise and finishes well enough to justify the investment in time. It’s all that dull, formulaic stuff mediados película (mid movie) that sucks the salt right off the tequila glass and leaves this one too stale to swallow.
    • tbd Metascore
    • 50 Roger Moore
    A Year in Champagne
    "A Year” won’t tell aficionadoes anything new, and even novices may grate at its superficiality, a brief whiff of bouquet when more of a sip or two was called for.
    • tbd Metascore
    • 38 Roger Moore
    Apartment Troubles
    A nearly laughless comedy that doesn’t do its writer/director/stars any favors.
    • tbd Metascore
    • 75 Roger Moore
    The Living
    It wouldn’t work without Chris Mulkey, playing a heartless sociopath ex-con hired to kill a man.
    • tbd Metascore
    • 25 Roger Moore
    Private Number
    The plot’s puzzle isn’t engaging enough to warrant solving. And the performances, save for Sizemore, are perfunctory and seemingly puzzled themselves.
    • tbd Metascore
    • 38 Roger Moore
    How to Save Us
    This lean indie picture runs out of surprises early and never overcomes flat, uninvolving acting, primarily by the eyepatch-wearing filmmaking in a tour-de-dull performance.
    • tbd Metascore
    • 50 Roger Moore
    Beyond the Mask
    Beyond the Mask lacks the wit or excitement to truly come off, though it is intriguing enough to make you hope this team gets to make more films, perhaps spending more money on screenwriting as they do.
    • tbd Metascore
    • 38 Roger Moore
    Un Gallo Con Muchos Huevos
    So this Mexican cartoon, in Spanish with English subtitles, is racy enough to count as a bit of culture clash. How young, exactly, do they teach kids testicle puns and stripper/massage “Happy Ending” jokes South of the Border?
    • tbd Metascore
    • 63 Roger Moore
    Being Canadian
    Cohen comes close to getting at why Canadians are so funny (at least in the arts). It’s their long winters. We need Mike Myers, Dan Aykroyd and many others to explain that to us.
    • tbd Metascore
    • 38 Roger Moore
    Julia
    Whatever its ambitions, this is just another vengeance fantasy and one that doesn’t transcend its genre.
    • tbd Metascore
    • 63 Roger Moore
    Flutter
    A thriller with this setting and this cast can never go too far wrong. Flutter doesn’t hit the jackpot, but at least it’s a decent even-money bet.
    • tbd Metascore
    • 63 Roger Moore
    Admiral
    A rousing good tale from an age when ships of wood were sailed by men of iron.
    • tbd Metascore
    • 50 Roger Moore
    Burning Bodhi
    It’s just callow, the way we all are/were in our 20s.Which is why the best generational “take stock” reunion movies wait until everybody hits 30, or close to it, before even trying to make sense of it all.
    • tbd Metascore
    • 38 Roger Moore
    Rescue Dogs
    The acting is Disney Channel broad, the writing is about six drafts shy of having enough laughs. And any message about “who rescued who,” the rescued pet owners’ creed, is lost.
    • tbd Metascore
    • 63 Roger Moore
    Queen Mimi
    It’s Stan that Queen Mimi celebrates, right alongside the charismatic and eccentric Queen that is the film’s star in this good but not great documentary.
    • tbd Metascore
    • 75 Roger Moore
    We Like It Like That
    We Like It Like That fills in some very necessary course requirements in Americans’ college of musical knowledge. Just hearing how that seminal, signature hit “Bang Bang” came about is worth the price of admission.
    • tbd Metascore
    • 38 Roger Moore
    Hard Sell
    This “Risky Business” is averse to risk. There’s no edge to it. Only the sentimental stuff works.
    • tbd Metascore
    • 38 Roger Moore
    Wild Oats
    The laughs in this insomnia cure come in the first act, almost all of them at the funeral. Once the machinations of a tedious, trite and formulaic script take hold, the novelty of hearing lionized actresses curse (demurely) wears off, so do the charms of Wild Oats.
    • tbd Metascore
    • 38 Roger Moore
    The People Garden
    The People Garden guards its feeble secrets so well audience ennui sets in, as it always does when we’re way ahead of where a movie is taking us.
    • tbd Metascore
    • 63 Roger Moore
    People You May Know
    It benefits from a smart, sassy script and winning performances from assorted pretty young things who star in it.
    • tbd Metascore
    • 63 Roger Moore
    Operator
    There’s little that I’d call hilarious here, as Operator is more smart, smooth and droll than laugh-out-loud funny.
    • tbd Metascore
    • 63 Roger Moore
    The 24 Hour War
    The 24 Hour War is a bracing reminder of the days when drivers became legends, racecar teams were a big source of national pride and when Ford got out of the business of building “living rooms on wheels” and took its chances on “the Super Bowl of Speed” — LeMans.
    • tbd Metascore
    • 50 Roger Moore
    Coin Heist
    The finale is seriously undigested, but that’s consistent with the film as a whole. It’s a workable, salvageable caper comedy that needed more comedy and a heist picture that needed a bit more interesting content and character development outside of the heist.
    • tbd Metascore
    • 63 Roger Moore
    S Is for Stanley
    The conversations with Emilio mostly just reinforce, with delicacy and omissions of REAL dirt about Kubrick’s on-set tyranny, the picture of Kubrick that many others have painted over the years.
    • tbd Metascore
    • 38 Roger Moore
    Take the 10
    A rowdy, random and not-nearly-raunchy-enough misfire in that regard, a buddy picture with stolen money from work, stolen concert tickets, stolen drugs and one guy’s dream of flying off to Brazil and getting into the healthy rainforest nuts export business.
    • tbd Metascore
    • 50 Roger Moore
    Girlfriend's Day
    A quick, dark sketch of a comedy, sort of a Bob Oedenkirk special.
    • tbd Metascore
    • 63 Roger Moore
    Burlesque: Heart of the Glitter Tribe
    Beyond that, what is the drive — personal, psychological , body image or otherwise — that they must have in common? “Glitter” never gets close to that.
    • tbd Metascore
    • 38 Roger Moore
    Walk of Fame
    Eastwood has zero difficulty play-acting scenes in which he’s incapable of expressing any emotion or eliciting any reaction from his audience. Few of the comic veterans around him manage anything either.
    • tbd Metascore
    • 25 Roger Moore
    Diamond Cartel
    There is no worse way for an actor to make his exit from the screen which he lit up for fifty years. Yeah, O’Toole wanted one last check so he took a tiny role in this silly slaughterhouse.
    • tbd Metascore
    • 63 Roger Moore
    Lipstick Under My Burkha
    Filmmaker Alankrita Shrivastava presents a vivid setting, a post-“gas tragedy” Bhopal full of working class/middle class life and clashing gender mores.
    • tbd Metascore
    • 38 Roger Moore
    NOLA Circus
    Some moments might make you smirk. But there’s little that makes you laugh.
    • tbd Metascore
    • 63 Roger Moore
    A Suitable Girl
    A fascinating look into a custom that the movies and TV have only touched on and mentioned with a raised eyebrow of mild dismissal.
    • tbd Metascore
    • 38 Roger Moore
    Stephanie
    Stephanie simply toddles along, intriguing for 20 minutes, exciting for three or four, and dull the remaining 60 minutes of its tedious, been-there/saw-that-coming running time.
    • tbd Metascore
    • 25 Roger Moore
    Aaron's Blood
    Its few novel touches aren’t enough to lift Aaron’s Blood into the realm of vampire-movie-worth-seeing.
    • tbd Metascore
    • 50 Roger Moore
    From Hollywood to Rose
    I appreciated its randomness, the underlying sweetness, even if too many of the monologues were more grating than charming. And the novel setting, while it doesn’t show us as much of the city as we’ve never seen (I’ve ridden the bus along these routes a few times) on screen, does count for something.
    • tbd Metascore
    • 50 Roger Moore
    Shimmer Lake
    The performances range from unconvincing to not-quite-compelling, with Wilson the sole standout.
    • tbd Metascore
    • 25 Roger Moore
    Undercover Grandpa
    Caan, Gossett, Sorvino and the rest get to work, everybody puts some effort in. But man — let’s wish for better things for everybody involved, save for the screenwriter.
    • tbd Metascore
    • 25 Roger Moore
    Pray for Rain
    Seymour gives the most interesting performance, and even it comes off like a pulled-punch.
    • tbd Metascore
    • 63 Roger Moore
    Who the F**K Is That Guy?
    It’s a fun vanity project, an interesting history as seen from its insiders.
    • tbd Metascore
    • 50 Roger Moore
    Miles
    This 2016 film was one of the first hints that “SNL” veteran Shannon was poised for a grand second act in her career (“Divorce”). Here, she’s angry, despairing, barely clinging to hope but determined to do right by her son, who hasn’t quite come out to her.
    • tbd Metascore
    • 25 Roger Moore
    Battle Scars
    There’s one touching scene — just one. It hints at a movie that might have been, one that didn’t involve strippers and strip clubs. The performances are mostly flat, but let’s not lay this mess at the feet of the actors.
    • tbd Metascore
    • 38 Roger Moore
    The Stray
    I wanted to love The Stray, and I’d have been satisfied if it had reached as high as “liked.”
    • tbd Metascore
    • 63 Roger Moore
    Man in the Camo Jacket
    The picture is pleasant enough, righteous in its cause and inspiring in its “I’ve got no time for cancer” message.
    • tbd Metascore
    • 25 Roger Moore
    The Veil
    A mud and blood quest fantasy of the “Conan” school, and calling it a B-movie insults a rich tradition of cheap but entertaining Bs.
    • tbd Metascore
    • 38 Roger Moore
    Big Bear
    There are plenty of possibilities set up here, most of them blown. There’s no Mike Tyson, no Bengal tiger, no Vegas even. There’s barely a hint of Kern’s funniest previous acting credit, “Bloodsucking Bastards.”
    • tbd Metascore
    • 38 Roger Moore
    Where's the Money
    Plot? Ten different kinds of ridiculous.
    • tbd Metascore
    • 63 Roger Moore
    The Keeping Hours
    The best effects are the simplest, and kudos to the effects rigger or production assistants who nailed this precision-slamming in one take. We, like Lee Pace playing Mark, his mouth agape, are shocked and shaken that something inexplicable has just happened.
    • tbd Metascore
    • 38 Roger Moore
    #REALITYHIGH
    The cast is accomplished and confident, as you’d expect as these teens range in age from mid-20s to 30 (Ms. Sanz).
    • tbd Metascore
    • 25 Roger Moore
    SPF-18
    Goldie Hawn narrates the damned thing, incessantly. Maybe she’s here to speed things along, “Gold-spain” the simpler-than-simplistic script to the target audience and add gravitas. “SPF” is 75 minute movie that grinds its gears, scene after scene after scene.
    • tbd Metascore
    • 0 Roger Moore
    Mike Boy
    This badly-acted, incompetently written, clumsily directed and ineptly-edited fiasco is so awful that spelling the cast and crew’s names correctly in a review is an act of unblinking cruelty.
    • tbd Metascore
    • 38 Roger Moore
    Dalida
    The title performance, the awful lip-syncing, the utter lack of stage presence, cripples this movie in ways no mere maudlin cover of “Nights in White Satin” in Italian could.
    • tbd Metascore
    • 25 Roger Moore
    Nightworld
    Covering such well-worn horror territory requires novel touches, fresh sources of fear, committed-to-the-terror performances, but above all a dread that Nightworld never manages.
    • tbd Metascore
    • 38 Roger Moore
    The Truth About Lies
    If this movie was better it might make rom coms great again. But I cannot lie. It won’t.
    • tbd Metascore
    • 38 Roger Moore
    O Matador
    The acting is soap operatic, the action is sluggish and static and even the sound effects rob the shoot-outs — murders, actually, as most of the protagonists are hired killers of the Brazil of the 1910s to 1940s — sound like popguns.
    • tbd Metascore
    • 63 Roger Moore
    The Legend of 420
    The documentary isn’t anything resembling an over-reach, trotting out stats, uses, compassionate arguments and “harmless” stances that have been around for decades, and never effectively refuted. It’s all as easy to swallow as a THC-infused brownie.
    • tbd Metascore
    • 75 Roger Moore
    Bad Day for the Cut
    For shout at the screen, redemptive revenge that you can sink your teeth into, Bad Day for the Cut is hard to beat. Even if you almost need subtitles to unravel the dialogue at times.
    • tbd Metascore
    • 63 Roger Moore
    Thumper
    Writer-director Jordan Ross, of the MTV series “True Life,” maintains tension and fills in the fascinating back stories on these characters, peeking beyond drug abuse and arrest statistics, humanizing the entire genre eco-system.
    • tbd Metascore
    • 38 Roger Moore
    The Heyday of the Insensitive Bastards
    The pieces are of a biting, depressing nature — long-ago traumas, broken lives often illustrated by the moment that broke them.
    • tbd Metascore
    • 50 Roger Moore
    Almost Friends
    Goldberger’s script hangs on a couple of Big Secrets — his and hers — revealed in the middle acts. And it lives or dies on any sparks the two leads set off, which are few in number.
    • tbd Metascore
    • 75 Roger Moore
    Saving Capitalism
    While Saving Capitalism the movie is light on contrary voices (Nobody was willing to go on camera saying “Everything’s fine. The system works great just as it is!”) and a bit murky in the “action” stage of its arguments, it still makes for an eye-opener, especially for those unfamiliar with Reich’s career.
    • tbd Metascore
    • 50 Roger Moore
    A Murder in Mansfield
    “Mansfield” feels incomplete, reality TV that doesn’t quite the deliver the drama.
    • tbd Metascore
    • 63 Roger Moore
    Gold Star
    There are wrinkles to this sensitive story that add interest, elements of plot, romantic complications and the like.
    • tbd Metascore
    • 50 Roger Moore
    Devil's Whisper
    If you’re a demonic possession movie completist, if you simply must see everything in this worn genre that crosses your path as it crosses itself, you could do worse.
    • tbd Metascore
    • 63 Roger Moore
    The Mighty Atom
    The Mighty Atom is an engagingly adoring film.
    • tbd Metascore
    • 25 Roger Moore
    El Camino Christmas
    The drunk provides the best one-line review for this mess, one a pretty talented cast should have taken to heart before taking Netflix’s money. “Not all ideas are good ones.”
    • tbd Metascore
    • 25 Roger Moore
    Surge of Power: Revenge of the Sequel
    The attempts at jokes don’t land and cameos are no substitute for story, performances or wit in the script. This super hero spoof is a played out idea excruciatingly executed.
    • tbd Metascore
    • 50 Roger Moore
    Love & Saucers
    In a culture at war over “truth” and “facts” versus “sincere” beliefs, Love & Saucers aligns itself firmly with the cranks without even the courtesy of a wink to suggest it’s not in on the joke.
    • tbd Metascore
    • 38 Roger Moore
    The Misguided
    A tale of sibling rivalry and sibling bonding in the drug trade, and an unlikely whirlwind romance, I appreciated the characters and the up-to-date Aussie slang more than I believed the setting, those characters or how they got to be here.
    • tbd Metascore
    • 38 Roger Moore
    Desolation
    Even the climax has a savage predictability to it — everyone but the characters on screen can see it coming. Netflixable? Not so much.
    • tbd Metascore
    • 38 Roger Moore
    The Competition
    No, the “subjects” aren’t interesting. At all.
    • tbd Metascore
    • 63 Roger Moore
    42 Grams
    Eye-opening and engrossing, but no more so than your average episode of Ramsay’s old “Kitchen Nightmares” show. Less faked conflict, perhaps, but less revealing as well.
    • tbd Metascore
    • 63 Roger Moore
    Maktub
    I laughed more than once, and grinned at a couple of adorable surprise twists. Definitely Netflixable.
    • tbd Metascore
    • 50 Roger Moore
    Hidden Light
    The dialogue, like the situations and the strident score, can seem played out. Rare is the line that takes one by surprise.
    • tbd Metascore
    • 38 Roger Moore
    Hurricane Bianca: From Russia with Hate
    The best performance? Well, Dratch is a natch when it comes to disguising herself in drag. But Haylock, wearing Urkel glasses in his science teacher guise and the zaniest eye makeup this side of Bozo as Bianca, is as divine as Divine, a Rupaul for our times and a character deserving of a funnier film than this comedy set in a “Godforsaken country (not really, unless Russia has old Super 8 Motels for locations) that smells like burnt cat!”
    • tbd Metascore
    • 38 Roger Moore
    Sun Dogs
    An underachieving comical character study that wears out its welcome after too short a while, and a minor-key mystery with a “Gung Ho!” mein.
    • tbd Metascore
    • 63 Roger Moore
    Happy Anniversary
    We know where it’s going before it gets there, but a game cast act as if they don’t. But they know there’s no heavy lifting here, and they make something that should be easy feel and especially sound easy. Amazing how few rom-coms manage even that.
    • tbd Metascore
    • 25 Roger Moore
    Family Blood
    A gloomy but dull vampire tale set against the backdrop of 12 step programs.
    • tbd Metascore
    • 63 Roger Moore
    Amateur
    Amateur shines a light on a seriously dysfunctional system. It’s a sell-out updating of “Hoop Dreams” for the viral video era, a sharp-edges-rubbed-off film that holds interest even as it loses some of its testy edge drifting towards a wish fulfillment fantasy conclusion.
    • tbd Metascore
    • 38 Roger Moore
    Counterfeiters
    Counterfeiters rarely builds up suspense, and Hirschberg the actor doesn’t register the panic that Bridger must be feeling as the walls close in. Decent sequences are followed with clumsy, amateurish ones — the worst stoned come-on scene in recent memory.
    • tbd Metascore
    • 63 Roger Moore
    Class Rank
    It has the edge of a butter knife. But the stars are ever-so-engaging.
    • tbd Metascore
    • 50 Roger Moore
    Dude
    Even though “Dude” strikes a teens-behaving-badly blow for gender parity, even if it’s every bit as raunchy as most boys-get-blasted comedies of its ilk, its several random laughs don’t build to anything, its deep thoughts are too shallow to uplift the genre, or the age group it might have been aimed at.
    • tbd Metascore
    • 50 Roger Moore
    44 Pages
    Shaff has made a movie that skims the surface, like a “How Magazines are Made” video for kids that no kid will want to sit through and will keep few adults awake.
    • tbd Metascore
    • 50 Roger Moore
    The Kissing Booth
    If you’re looking for a teen comedy that isn’t a grow-up-too-fast exposure to your tweens, Kissing Booth isn’t it. But the arc of the story packs a lot of lust and relationship lessons that anybody older than 15 can relate to, and learn from.
    • tbd Metascore
    • 50 Roger Moore
    Holy Goalie
    It adds up to very little, but as time-killers that help you brush up on your Spanish go, it’s got enough laughs to get by. Almost.
    • tbd Metascore
    • 38 Roger Moore
    The Honor List
    There’s no shame to everyone’s intentions, but there’s no honor in the result, either. The Honor List can’t even live up to its bad-pun title.
    • tbd Metascore
    • 75 Roger Moore
    What Haunts Us
    It’s a hard movie to embrace, and some of that stems from the entitlement that simmers in the background of the school, those who attend it, of the city, the monied elite and indeed the filmmaker herself, who narrates and does the questioning here. They’re no less victims, but as they admit, they “knew.”
    • tbd Metascore
    • 63 Roger Moore
    Steven Tyler: Out on a Limb
    Tebo’s film gives us the sense that Tyler was living the dream most every rock singer of his generation shares, to front a Big Band, with horns and backup singers, paying homage to some old favorites, and vamping through others, and having a ball doing it.
    • tbd Metascore
    • 25 Roger Moore
    Who's Watching Oliver
    Maybe it’s just the gruesome, excruciating detail of the dismemberments, with an illogically sick “love story” glibly grafted on it, but this thing seems to go on forever. Again, not my genre. I thought it was dead, and in the #MeToo era, it ought to be.
    • tbd Metascore
    • 63 Roger Moore
    Born Racer
    Director Bryn Evans works hard to maintain the suspense of a championship points race, covering that 2017 season from the pits, the telecommunications center, the garages and the RV where Dixon and his wife and kids stay on race weeks. We see a big crash, a furious physical recovery and the quiet stoicism of Dixon and those rare few who can do what he does.
    • tbd Metascore
    • 63 Roger Moore
    The Package
    The Package is funnier than any one joke/”dick” joke comedy has any right to be.
    • tbd Metascore
    • 63 Roger Moore
    Zoo
    Zoo is a sweet and occasionally sad tale, told with sensitivity and performed with great charm by all concerned.
    • tbd Metascore
    • 75 Roger Moore
    Catching Feelings
    The plot, which takes a few too many predictable turns, isn’t as interesting as the characters and the rich milieu Lediga puts them.
    • tbd Metascore
    • 50 Roger Moore
    The Skin of the Wolf
    It’s more striking to look at than riveting to follow. But if you ever doubted Europe has wilderness to rival America’s dazzling snow-capped peaks, wild waterfalls and unforgiving forests, it’s worth a look.
    • tbd Metascore
    • 38 Roger Moore
    To Each, Her Own
    The performances are perfectly serviceable, but building this thing around a passive, pathological liar, a literal “love the one you’re with” butterfly, might be the most quaint thing about it. It’s more maddening than “motivated,” more eye-rolling than funny.
    • tbd Metascore
    • 75 Roger Moore
    The Warning
    Calpasoro expertly ratchets up the suspense in The Warning (El Aviso), showing two timelines whose protagonists grow more frantic by the minute.
    • tbd Metascore
    • 38 Roger Moore
    Running for Grace
    With the romance not clicking and the resolution lacking much of anything that tugs at the heartstrings, Running with Grace never rises above “Walking in Place.” And that, as you know, never gets you anywhere.
    • tbd Metascore
    • 63 Roger Moore
    Hope Springs Eternal
    The comic instincts are there, the novelty of the premise is a winner, but you can’t help thinking that it’s a promise that’s only half-kept.
    • tbd Metascore
    • 38 Roger Moore
    The Feels
    The Feels is a slapdash lesbian entry in the field, a laugh-free roundup of seven friends for a bachelorette weekend in or around Healdsburg, in California’s Sonoma Valley wine country.
    • tbd Metascore
    • 63 Roger Moore
    100 Days of Solitude
    As lovely and striking as this place is, worth web searching to see about vacationing there, the drama it provides is entirely scenic — fog and snow and rain, seasons changing. And that’s not going to be to every taste any more than the tedious “I’m cold, there’s some pain” on-camera confessions.
    • tbd Metascore
    • 25 Roger Moore
    I Am Vengeance
    A lifetime of watching this genre has given me an appreciation for the rare films that work and a patience for even the crappy ones, like I Am Vengeance. But as much as I love me some fisticuffs and Limey trash talk — “Where do you and the other traitorous wankers hang out?” — there’s just nothing to this one.
    • tbd Metascore
    • 50 Roger Moore
    Beautifully Broken
    It’s the movie-making, the acting, that let it down. One lump in the throat moment with all these trials, all this tragedy and the path to uplift the story takes is hardly enough, considering the subjects engaged here.
    • tbd Metascore
    • 50 Roger Moore
    Dead Envy
    Whatever dread we feared leading up to it, the climax deflates in a heartbeat despite Reeser’s bust-a-bottle-over-my-head efforts.
    • tbd Metascore
    • 63 Roger Moore
    The Angel
    A fascinating if somewhat muted spy thriller from the director of “The Iceman” and “Criminal,” Ariel Vroman.
    • tbd Metascore
    • 25 Roger Moore
    The Toybox
    The Toybox itself, like the movie about it, is never scary, just kind of grim and rusty and dogged. It obeys no “horror” or “ghost” rules and makes less sense the more you think about it.
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