Bill Goodykoontz

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For 1,016 reviews, this critic has graded:
  • 69% higher than the average critic
  • 3% same as the average critic
  • 28% lower than the average critic
On average, this critic grades 6.3 points higher than other critics. (0-100 point scale)

Bill Goodykoontz's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Inside Out
Lowest review score: 20 Midget Zombie Takeover
Score distribution:
1,016 movie reviews
    • 74 Metascore
    • 60 Bill Goodykoontz
    Interesting as it is, Narco Cultura aims to tell the story of what’s happened in Juarez and in Mexico (and, by virtue of its immense appetite for drugs, the U.S.). Instead, it feels more like a couple of intriguing chapters.
    • 73 Metascore
    • 60 Bill Goodykoontz
    The film soldiers on through a couple of possible endings, and if its real destination is never truly in doubt, Mbatha-Raw makes the trip interesting.
    • 68 Metascore
    • 60 Bill Goodykoontz
    The film is interesting and at times enlightening, but it's all over the map.
    • 67 Metascore
    • 50 Bill Goodykoontz
    Welcome back, Whit Stillman -- with Damsels in Distress, the hipper-than-thou club is back in session.
    • 67 Metascore
    • 50 Bill Goodykoontz
    In "The Player," Robert Altman carves up Hollywood with knowing, surgical precision. Cronenberg is a gifted filmmaker in his own right, but here he takes a meat-ax to the place. He gets what he's after but leaves quite a mess.
    • 66 Metascore
    • 60 Bill Goodykoontz
    It’s a mix of good films that could have been a single outstanding one.
    • 66 Metascore
    • 60 Bill Goodykoontz
    It’s fun while it lasts, but ultimately forgettable, kind of like the people they stole from.
    • 66 Metascore
    • 40 Bill Goodykoontz
    An unruly mix of science, morality, family dysfunction, horror and finger-down-the-throat gross-out ridiculousness.
    • 65 Metascore
    • 50 Bill Goodykoontz
    Suffice it to say that it's something that would make Austin Powers blush, baby, but it's not supposed to be funny.
    • 64 Metascore
    • 60 Bill Goodykoontz
    The problem with Peyton Reed's film is that when he shrinks the always-affable Paul Rudd, he shrinks a big part of Rudd's charisma, too.
    • 64 Metascore
    • 60 Bill Goodykoontz
    Melfi, who also wrote the script, goes for broke on the sappy front. It's a credit to Murray's skill — or maybe the strength of his personality — that he never submits completely to all the heart-string tugging.
    • 63 Metascore
    • 60 Bill Goodykoontz
    Niccol looks at the pilot's struggles and the toll this remote form of warfare takes on his life. It's certainly intriguing, but he tells his story in such broad, obvious strokes that the movie isn't as powerful as it could be.
    • 63 Metascore
    • 60 Bill Goodykoontz
    An enjoyable movie, in many ways a beautiful movie to look at. One only wishes he'd been a little more ambitious.
    • 63 Metascore
    • 60 Bill Goodykoontz
    The story, based on the Michael Connelly novel, grows increasingly far-fetched - at times it plays like an expensive pilot for a TV series, maybe a "Young Barnaby Jones" or something.
    • 63 Metascore
    • 60 Bill Goodykoontz
    Vacth is good throughout. It's tough to make a disaffected character hold your interest, but she does.
    • 63 Metascore
    • 50 Bill Goodykoontz
    Patricia Clarkson is kind of funny as Jamie's mom, an unreformed hippie. And Timberlake and Kunis get in a few good laughs before it's over. But with such a well-worn story, you can't shake the idea you've seen this kind of thing before.
    • 63 Metascore
    • 60 Bill Goodykoontz
    If you like your musicals enormous, over the top and bang-on-the-head manipulative, Les Miserables is the movie for you.
    • Arizona Republic
    • 63 Metascore
    • 60 Bill Goodykoontz
    Even as big-budget blockbusters go, this is a hard movie to connect with.
    • 63 Metascore
    • 60 Bill Goodykoontz
    This is Ferrell's movie, meaning some inspired laughs sandwiched between annoying bits that stretch on well past their usefulness.
    • 62 Metascore
    • 60 Bill Goodykoontz
    It's easy to get sucked into Begin Again, to enjoy the friendly performances and the goes-down-easy songs, and to not even notice until it's over that the film is more a feel-good fairy tale than anything else. We might not have seen much that was truly meaningful in the end, but it was warm and fuzzy while it lasted.
    • 62 Metascore
    • 60 Bill Goodykoontz
    The story is just so downright weird that the film can't help but be compelling. Just not as compelling as it could have been.
    • 62 Metascore
    • 60 Bill Goodykoontz
    A too-good Gru is a boring Gru. No matter how much you crank up the adorability factor or offer up the occasional laugh, there is no getting around that.
    • 62 Metascore
    • 50 Bill Goodykoontz
    Ted
    The one-note joke plays out longer and better than you might expect, at least for a while. But not forever.
    • 62 Metascore
    • 60 Bill Goodykoontz
    Subtlety may not be Watkins' strong suit, but he knows how to frame a scene for maximum tension and dread.
    • 62 Metascore
    • 60 Bill Goodykoontz
    Unfortunately, stretching things out dilutes the charms of Segel and Blunt, which are considerable.
    • 62 Metascore
    • 60 Bill Goodykoontz
    How many times have we complained that summer blockbusters are all about the action, at the expense of niceties like character development? Well, Edwards has gone in another direction, one that's more intriguing in theory than on the screen.
    • 61 Metascore
    • 40 Bill Goodykoontz
    Enchantment is an essential ingredient of an animated film, particularly one that skirts dark edges. The Boxtrolls doesn't have nearly enough of it.
    • 61 Metascore
    • 40 Bill Goodykoontz
    A documentary so enthusiastic, good-natured and sweet about such an abject disaster that it almost makes "Troll 2" worthwhile. Almost.
    • 61 Metascore
    • 60 Bill Goodykoontz
    Is it a good movie? It’s OK. But is it funny? It is, and ultimately that’s all it sets out to be.
    • 61 Metascore
    • 50 Bill Goodykoontz
    What an interesting failure Margaret is.
    • 61 Metascore
    • 60 Bill Goodykoontz
    What you would expect from the third film in an unlikely franchise: less of the same.
    • 61 Metascore
    • 60 Bill Goodykoontz
    17 Girls doesn't try to explain its many mysteries. That would have made for a better film, but this one does a nice job showing its effects.
    • 61 Metascore
    • 60 Bill Goodykoontz
    Kahlil Gibran’s The Prophet is a hit-and-miss affair, easy on the eyes but nothing to write home — or a term paper — about.
    • 61 Metascore
    • 60 Bill Goodykoontz
    A perfectly serviceable thriller, smarter than many, but it has too much of a reputation to live up to.
    • 61 Metascore
    • 50 Bill Goodykoontz
    Kudos to Blomkamp for not shying away from social issues in his films, but here the execution doesn’t live to the intentions.
    • 61 Metascore
    • 60 Bill Goodykoontz
    Does the movie have anything new to say, anything different from John G. Avildsen's 1984 original, with Ralph Macchio and Pat Morita? Not particularly.
    • 60 Metascore
    • 60 Bill Goodykoontz
    The filmmakers work at creating a new take on an old protagonist and then don’t really have much new to do with him once they’ve achieved that. It’s a good effort. Just not an entirely successful one.
    • 60 Metascore
    • 60 Bill Goodykoontz
    The rest of the cast is fine, actually, but Rudd spares nothing in making Ned a lovable loser, with the emphasis on "loser."
    • 60 Metascore
    • 60 Bill Goodykoontz
    Ultimately it's not the lives of the characters that need adjusting here. It's the story itself.
    • 60 Metascore
    • 60 Bill Goodykoontz
    At Middleton is an almost completely inauthentic little romance that is so genuinely pleasant you’ll enjoy it anyway.
    • 60 Metascore
    • 60 Bill Goodykoontz
    Madagascar 3 has a problem: It rarely slows down enough to let us really enjoy it.
    • 59 Metascore
    • 50 Bill Goodykoontz
    Rob Minkoff’s film has the generic feel of a kids’ movie that’s trying to please everyone. It’s not horrible. In fact, it’s agreeable enough. But nothing more.
    • 59 Metascore
    • 60 Bill Goodykoontz
    In Run All Night, Neeson gives us more of the same, although with Collet-Serra's assistance, it's dressed up in a more interesting package.
    • 59 Metascore
    • 50 Bill Goodykoontz
    Every third person on the planet will go to see this movie, and they will find exactly what they seek, nothing more but certainly nothing less. It's that nothing more part that ultimately disappoints.
    • 59 Metascore
    • 60 Bill Goodykoontz
    It's interesting to wonder how the film will age, given the short shelf life of technology. In two years all this might seem as dated as a dial-up modem, technology not nearly advanced enough to support the action here. But for now Unfriended lives in the moment, as do its characters.
    • 58 Metascore
    • 50 Bill Goodykoontz
    In To the Wonder [Malick] doesn’t give us enough to work with, leaving us with a thing of great beauty, but not much more.
    • 58 Metascore
    • 50 Bill Goodykoontz
    August: Osage County is at times affecting (Cooper’s tender moment with Cumberbatch, who has slept through an important event, is especially so), but mostly it’s all about actors acting and never letting us forget they’re doing so.
    • 58 Metascore
    • 60 Bill Goodykoontz
    This Footloose it's a pleasant reminder of the past for fans of the first one, and an agreeable-enough experience for everyone else.
    • 58 Metascore
    • 60 Bill Goodykoontz
    There is something to be said for giving people what they want, but there are no surprises in Randy Brown's script, and Lorenz plays it safe. It's feel-good stuff; you wonder what Eastwood, a terrific director, might have done with it behind the camera.
    • 58 Metascore
    • 50 Bill Goodykoontz
    If you found "Shrek the Third," the third film in the "Shrek" franchise, tired, it will probably come as no surprise that Shrek Forever After is downright exhausted.
    • 58 Metascore
    • 60 Bill Goodykoontz
    Competent, pretty funny in places, awfully nice to look at, that sort of thing. There’s just not a lot of excitement, though.
    • 58 Metascore
    • 60 Bill Goodykoontz
    Pacino and his director don't get back to basics — given that Pacino plays the title character, an aging rock star who long ago sold out, that wouldn't make sense. But the actor brings such a charming attitude to the role that his performance feels far more genuine than the story itself.
    • 58 Metascore
    • 60 Bill Goodykoontz
    The intentions are solid here, but the execution is not... But the actors are compelling, and the issue is, of course, always worth discussion. It's not a great movie, but, if nothing else, Frontera is worthwhile on those fronts.
    • 58 Metascore
    • 60 Bill Goodykoontz
    Forget Team Edward vs. Team Jacob. I'm backing Team David, as in David Slade, the director who has finally managed to breathe some life into the "Twilight" series, heretofore a deadly dull undead undertaking.
    • 58 Metascore
    • 60 Bill Goodykoontz
    The Woman isn't simply a gore-fest. It's just mostly a gore-fest, with a little more going on, as well.
    • 58 Metascore
    • 60 Bill Goodykoontz
    The good news is that it's better than the second "Men in Black." The bad news is: not all that much. There are a couple of clever ideas, a few funny moments, a wealth of computer-generated special effects. But it's hollow at its core, and the asides have lost some of their spark.
    • 58 Metascore
    • 60 Bill Goodykoontz
    Fichtner is always good; just trying to sort out his accent here is kind of fun. Plotnick is the key, however. He plays it straight, even as the world around him grows weirder by the minute. Often he seems confused by the proceedings, which is fitting: Join the club, pal. But we’re having a better time of it than he is.
    • 58 Metascore
    • 50 Bill Goodykoontz
    You shouldn't be able to read a book faster than you can see it play out on-screen.
    • 58 Metascore
    • 50 Bill Goodykoontz
    The story of how Moore made the movie is ultimately more interesting than the film he’s put together. It’s not for lack of trying. It’s more a lack of a cogent story.
    • 58 Metascore
    • 60 Bill Goodykoontz
    Uplifting, it's not. But Low Down is a worthwhile look at a deeply flawed man, his daughter, and the unusual bond that existed between them.
    • 57 Metascore
    • 40 Bill Goodykoontz
    Some of the imagery is memorable, in a twisted-horror kind of way. Zombie has no trouble scaring up atmosphere. But other scenes are ridiculous, unintentionally funny, particularly one he builds up to ominously, only to give us a silly payoff.
    • 57 Metascore
    • 60 Bill Goodykoontz
    Quirky, funny and a little claustrophobic (by design), it’s confident enough in what it’s trying to accomplish to take the chance on the title. And what he’s trying to accomplish is ambitious.
    • 57 Metascore
    • 50 Bill Goodykoontz
    Cash was the star, after all. Saul Holiff was an important part of that, but My Father and the Man in Black makes a rather clunky case for it.
    • 57 Metascore
    • 60 Bill Goodykoontz
    Bright Days Ahead offers an interesting twist on the May-December romance.
    • 57 Metascore
    • 60 Bill Goodykoontz
    Close's performance is a study in repression -- too much so, really.
    • 57 Metascore
    • 60 Bill Goodykoontz
    It has a great voice cast, a kinda-sorta interesting premise and the 3-D is effective, but somehow it just doesn't add up.
    • 57 Metascore
    • 60 Bill Goodykoontz
    There is nothing about Evil Dead as groundbreaking as Raimi’s films (particularly the first two). But it’s smarter and better done than a lot of what’s come since those movies were made, which is to say there is at least some thought behind the killings.
    • 57 Metascore
    • 60 Bill Goodykoontz
    Geography Club almost makes up in good intentions what it lacks in technique and execution. Almost.
    • 57 Metascore
    • 60 Bill Goodykoontz
    What Cars 2 lacks is that moment the best Pixar films have, when parents and children alike stand slack-jawed with awe at something wonderful happening on-screen - when the films move beyond mere entertainment and become something more, something better.
    • 57 Metascore
    • 50 Bill Goodykoontz
    Horror comedies can be wildly entertaining -- "The Return of the Living Dead," from 1985, for instance. It sends up horror movies in hilarious fashion while still managing to be gross-out scary. The Revenant never rises to that level. Nor does it seem to want to.
    • 57 Metascore
    • 60 Bill Goodykoontz
    Scott Frank's atmospheric thriller is a step up from Neeson's usual shoot-'em-ups. Not a giant leap, but a step up nonetheless.
    • 57 Metascore
    • 40 Bill Goodykoontz
    It's a slight movie that makes "Broadcast News" look like "All the President's Men" in comparison.
    • 57 Metascore
    • 50 Bill Goodykoontz
    The atmosphere is appropriately creepy, and there are some starts, if not outright scares...But it just gets stupid.
    • 57 Metascore
    • 50 Bill Goodykoontz
    The struggle between faith and reason somehow gets sidetracked, resulting in a sometimes silly, too-obvious journey.
    • 57 Metascore
    • 60 Bill Goodykoontz
    Jack Ryan: Shadow Recruit is a well-made movie, well-acted (Costner and Branagh seem to be having an especially good time) and a pleasant diversion. They’ll probably make several more. But it doesn’t exactly put the “thrill” in action thriller.
    • 56 Metascore
    • 60 Bill Goodykoontz
    It's all very pleasant, very inspiring, just not very surprising.
    • 56 Metascore
    • 40 Bill Goodykoontz
    The look of the film is impressive enough, but the performances are merely OK. The same goes for the story.
    • 56 Metascore
    • 60 Bill Goodykoontz
    It’s engaging at times and wonderful to look at, but feels like it’s on the cusp of something bigger. But whatever that bigger thing is, it never arrives.
    • 56 Metascore
    • 60 Bill Goodykoontz
    We’ve seen the elements that make up Paper Towns before, but that’s OK. Schreier proves adept at avoiding clichés, and is helped by his actors.
    • 56 Metascore
    • 40 Bill Goodykoontz
    There’s no rescuing Non-Stop from its own worse impulses. The likable Neeson’s implausible second act as an action star continues, but not in a believable direction.
    • 56 Metascore
    • 60 Bill Goodykoontz
    Wants to scare you, but it can't quite seal the deal.
    • 56 Metascore
    • 60 Bill Goodykoontz
    It's an uneven proposition, veering wildly from genuinely funny scenes directly into ridiculousness and back again. But every time Shawn Levy's movie makes that journey, it's harder to get back on solid footing.
    • 56 Metascore
    • 40 Bill Goodykoontz
    There are a couple of intriguing ideas floating around here and there, but that's all they do - float around, unmoored by any sense of reality and, thus, suspense.
    • 56 Metascore
    • 40 Bill Goodykoontz
    True enough, she's trying to do the right thing. But she never quite gets there. And that gets old, making "Ramona" wear out its welcome long before it should have.
    • 56 Metascore
    • 60 Bill Goodykoontz
    Taking the bad-cop genre to the extreme, Filth lives up to its title and then some, but a no-holds performance by James McAvoy is reason enough to watch.
    • 56 Metascore
    • 50 Bill Goodykoontz
    Jolie's performance so overshadows the rest of the cast (and the rest of the movie) that you sometimes feel as if the other characters are, like us, just standing around watching her. This is not, however, the fault of the other actors. It's the fault of screenwriter Linda Woolverton, who doesn't give them much to do that's challenging or interesting.
    • 56 Metascore
    • 60 Bill Goodykoontz
    [Pacino] and Green sometimes overplay their hand. That is, overplay the underplaying, which sounds patently ridiculous but is the exact description warranted here.
    • 56 Metascore
    • 40 Bill Goodykoontz
    The movie is content to simply mimic the old Stooges, bringing nothing new to the table.
    • 56 Metascore
    • 60 Bill Goodykoontz
    What ultimately waters down a movie like Touchback, aside from a really sappy ending, is that we know the answers going in.
    • 55 Metascore
    • 50 Bill Goodykoontz
    Cloud Atlas is ambitious in nature, epic in scope and, ultimately, a big, overstuffed mess. [24 Oct 2012]
    • Arizona Republic
    • 55 Metascore
    • 60 Bill Goodykoontz
    It almost works. Actually, it does work, hitting the requisite number of hip notes. It just doesn’t dazzle, and that’s kind of a surprise.
    • 55 Metascore
    • 40 Bill Goodykoontz
    It seems hollow, somehow false, even by its own campy standards.
    • 55 Metascore
    • 60 Bill Goodykoontz
    The problem with V/H/S, a compilation of sometimes scary horror shorts loosely bound by an overarching plot, is that, no matter how savage, evil or sadistic the killer, the victims almost always come off as bigger jerks.
    • Arizona Republic
    • 55 Metascore
    • 50 Bill Goodykoontz
    The interviews throughout are the best part of the movie - the least heavy-handed, yet most effective, element. There is a message here of the necessity for tolerance, but 8: The Mormon Proposition would have been better had its makers presented it in a more consistent, artful fashion.
    • 55 Metascore
    • 60 Bill Goodykoontz
    Wahlberg and Washington are so good together, quips flying as fast as lead, that much is forgiven.
    • 55 Metascore
    • 60 Bill Goodykoontz
    It’s not as good, nor as involving, as “Love Actually.” But like that film, it has Bill Nighy, and that’s good for something.
    • 55 Metascore
    • 60 Bill Goodykoontz
    The jokes only make up for the pedestrian plot for so long. There was a time when animated fare with generic stories sufficed. But now we expect more from them, because they have, pardon the pun, evolved. The Croods, like its title family, hasn’t.
    • 55 Metascore
    • 60 Bill Goodykoontz
    As a film, it’s like science fiction, a visit to Planet Obscenely Wealthy. It is weirdly compelling.
    • 55 Metascore
    • 60 Bill Goodykoontz
    Zwick can't seem to decide what the movie is - a refreshingly frank comedy about sex and commitment, or a more-serious look at illness and its effect on relationships.
    • 55 Metascore
    • 50 Bill Goodykoontz
    The First Time sets out to be the thinking kids' teen sex comedy but misses the mark by failing its characters. [18 Oct 2012]
    • Arizona Republic

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