For 249 reviews, this critic has graded:
  • 57% higher than the average critic
  • 2% same as the average critic
  • 41% lower than the average critic
On average, this critic grades 3.9 points higher than other critics. (0-100 point scale)

Bill Gallo's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 The Story of the Weeping Camel
Lowest review score: 10 Deterrence
Score distribution:
  1. Negative: 29 out of 249
249 movie reviews
    • 77 Metascore
    • 60 Bill Gallo
    A reasonably entertaining -- and occasionally very moving -- picture.
    • 72 Metascore
    • 50 Bill Gallo
    In the end, Stevie is a relentlessly messy, sometimes trying picture of family dysfunction, official neglect and personal tragedy, a disturbing redneck soap opera about real people and real consequences in which the protagonist--like the filmmaker--often proves to be as unlikable as he is sympathetic.
    • 72 Metascore
    • 60 Bill Gallo
    The problem here lies not in the abundance of blood--we've seen that before--but in the film's pounding insistence, which prevails for all two hours and 40 minutes, that we also absorb a rather thin and unreliable history lesson.
    • 71 Metascore
    • 50 Bill Gallo
    Suffice it to say that Cruise never seems right in this part--never as treacherous as he should be, nor as mysteriously tortured. Foxx has his moments, but there's no room for his trademark humor, and we can never quite get our minds around the idea that the hit man has beguiled the cabbie.
    • 70 Metascore
    • 50 Bill Gallo
    There's so much EFFORT here to convince us of the switcheroo (already one of Hollywood's oldest ploys) that we soon weary of it.
    • 70 Metascore
    • 60 Bill Gallo
    This is a deeply disturbing (if not very satisfying) view of what happened at Columbine and in other school shootings.
    • 69 Metascore
    • 60 Bill Gallo
    Not a film for everyone, but if you're in the mood for a little sensory overload, some spirited intellectual gymnastics and an introduction to the most intriguing new actress Europe has produced in years, get in line with the rest of the thrill-seekers.
    • 69 Metascore
    • 50 Bill Gallo
    As another exposé of stubbornness, petty opportunism, and greed, there's some residual value in the story of two unappealing characters.
    • 68 Metascore
    • 50 Bill Gallo
    The World's Fastest Indian is not likely to be regarded as some kind of masterpiece--far from it--but Hopkins once more keeps our ears open and our eyes fixed on the screen.
    • 67 Metascore
    • 50 Bill Gallo
    The cast has plenty of room to emote, but their task feels a bit empty and thankless. For the most part, they're carrying the director's water.
    • 65 Metascore
    • 60 Bill Gallo
    An engaging preapocalyptic fantasy.
    • 65 Metascore
    • 60 Bill Gallo
    Instead of slick heroism, the saving grace of The Matador (which was obviously made on something less than a blockbuster budget) lies in the comic interplay between Brosnan's ignoble Mr. Noble and the hapless square he picks to serve his purposes.
    • 65 Metascore
    • 60 Bill Gallo
    Ali
    Muhammad Ali's spirit, his life force, is not quite present here, despite Smith's astonishing mimicry and Mann's considerable perspiration.
    • 64 Metascore
    • 60 Bill Gallo
    Whatever else is weak or indulgent in this fledgling effort -- self-consciousness and a certain grim solemnity come to mind -- it has the jolt of truth about it, like a lot of thinly veiled fiction.
    • 64 Metascore
    • 50 Bill Gallo
    The flashy sensationalism of The Sixth Sense -- maybe the best thing about it -- is at war with its desire for contemplation.
    • 64 Metascore
    • 60 Bill Gallo
    In the end, it demonstrates all over again the virtual impossibility of doing Nabokov justice on film, because his work is so resolutely and brilliantly made of words.
    • 64 Metascore
    • 60 Bill Gallo
    AKA
    Alternately fascinating and distracting.
    • 63 Metascore
    • 60 Bill Gallo
    Happily, the director and writer Andrea Gibb treat little Frankie with as much dramatic respect as the grown-up characters, and he saves the movie from killing sweetness.
    • 62 Metascore
    • 60 Bill Gallo
    Surprisingly tender and resolutely unpostmodern.
    • 62 Metascore
    • 60 Bill Gallo
    Picture the dopes from "Dumb and Dumber" getting mixed up in organized crime -- but without benefit of Jim Carrey's rubberized pratfalls or his go-to-hell anarchism.
    • 62 Metascore
    • 40 Bill Gallo
    Comes straight out of the Forrest Gump School of Interpersonal Magic, and that's not necessarily a good thing.
    • 61 Metascore
    • 50 Bill Gallo
    You'd better be in the mood for a blitz of bumper-sticker philosophy, a major machismo transfusion and 94 minutes' worth of mind-numbing repetition, complete with a musical score seemingly lifted from reality TV.
    • 61 Metascore
    • 50 Bill Gallo
    This plodding mediocrity displays none of the flair or the compelling trickery that enlivened its 2002 prototype.
    • 60 Metascore
    • 50 Bill Gallo
    This romantic tragedy has the measured gentility of the M.I. classics, but its sheen of crass melodrama is startling, and its many metaphors run amok in a tangle.
    • 60 Metascore
    • 60 Bill Gallo
    There are many winning moments here, but director Nigel Cole (Saving Grace) sometimes imparts to the thing a terrible case of the cutes and an overeagerness to please.
    • 59 Metascore
    • 60 Bill Gallo
    The result is a kind of quirky, high-toned soap opera.
    • 58 Metascore
    • 50 Bill Gallo
    By all accounts, Marsh has absorbed classic crazy-killer thrillers like "Psycho," "The Night of the Hunter" and "Badlands," but The King isn't likely to join such esteemed company.
    • 58 Metascore
    • 60 Bill Gallo
    For Caan's shtick alone, The Yards is worthwhile, but we may also be witnessing the emergence, in Gray, of a young filmmaker who's just starting to find the range.
    • 57 Metascore
    • 40 Bill Gallo
    There is more anxiety than loving humor in the proceedings, and a noticeable lack of charm.
    • New Times (L.A.)
    • 57 Metascore
    • 50 Bill Gallo
    Director Thomas Carter (no relation to Ken) relies on processed emotion and stock characters, and not even the inevitable Big Game excites us very much.

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