Bill Goodykoontz

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For 1,364 reviews, this critic has graded:
  • 65% higher than the average critic
  • 4% same as the average critic
  • 31% lower than the average critic
On average, this critic grades 4.5 points higher than other critics. (0-100 point scale)

Bill Goodykoontz's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 There Will Be Blood
Lowest review score: 20 Left Behind
Score distribution:
1364 movie reviews
    • 82 Metascore
    • 90 Bill Goodykoontz
    Some of the behavior of Uriel and Eliezer will make you squirm. But Ashkenazi and Bar-Aba are so compelling in their performances of difficult men that you'll gladly suffer.
    • 72 Metascore
    • 90 Bill Goodykoontz
    The Cabin in the Woods is a fantastic poke in the eye of our horror-movie expectations.
    • 90 Metascore
    • 90 Bill Goodykoontz
    As its title suggests, This Is Not a Film may not be what we're used to in a movie, but in many ways it's much, much more.
    • 82 Metascore
    • 90 Bill Goodykoontz
    It is gripping from the start, not just because of the quality of the music, but because of Marley's magnetic, challenging personality, as well.
    • 77 Metascore
    • 90 Bill Goodykoontz
    Jiro Ono is a magician.
    • 69 Metascore
    • 90 Bill Goodykoontz
    The real hero here is Joss Whedon, who directs the film with a fanboy's enthusiasm and a thorough knowledge of the genre.
    • 82 Metascore
    • 90 Bill Goodykoontz
    The catharsis found here is far quieter, and much more effective, whether it be the pain expressed in a student's essay or the honesty found in a simple gesture, one that ends the film in beautifully moving fashion.
    • 84 Metascore
    • 90 Bill Goodykoontz
    There isn't a false note among the performances. It's the first movie for Hayward and Gilman; whatever awkwardness they display is appropriate. Willis may never have been better. Norton is fantastic. Murray and McDormand are also ... well, you get the idea.
    • 86 Metascore
    • 90 Bill Goodykoontz
    A mixture of magical realism, Southern gothic, coming-of-age movie, star turn for first-timers, disaster story and out-and-out strangeness. It's unlike any film you've seen.
    • 84 Metascore
    • 90 Bill Goodykoontz
    Although it can be harrowing and disturbing, Joachim Trier's film -- and Lie's performance -- are so masterful that the movie seems more like a searing portrait of self-discovery and realization, with the understanding that not everything you learn about yourself will be pleasant.
    • 68 Metascore
    • 90 Bill Goodykoontz
    It makes you think. And that's invaluable.
    • 86 Metascore
    • 90 Bill Goodykoontz
    The film is not an epic. It's not a masterpiece. But it is an involving study of men searching, searching for answers, for belonging, for a foothold in life at a time when footholds were hard to find.
    • 81 Metascore
    • 90 Bill Goodykoontz
    The great success for Mendes and Craig, however, is that while Skyfall obviously has a great fondness for the past, it's not trapped there. It also anticipates Bond's future. In this immensely satisfying movie, so do we.
    • 86 Metascore
    • 90 Bill Goodykoontz
    If it sounds like so much backroom politicking, it is. But it's exceptionally interesting, entertaining backroom politicking.
    • 81 Metascore
    • 90 Bill Goodykoontz
    For a movie that seems at times to have no idea what it's trying to do, 'Silver Linings Playbook' is compulsively watchable. ... Throwing together so many movie tropes and blending them is both a brilliant idea and a scary one, but one that Russell proves well capable of handling.
    • 94 Metascore
    • 90 Bill Goodykoontz
    Riva, meanwhile, is astounding, not just in the way she portrays the physical manifestation of her decline, particularly later in the film, but also earlier, when she knows she is fading and does not wish to do so. The look in her eyes, the sadness in her face, is crushing.
    • 80 Metascore
    • 90 Bill Goodykoontz
    As with "The Central Park Five," you come away from the film impressed by the storytelling but enraged by the facts. It's outrageous that this kind of thing happens, but Berg does an outstanding job of showing us how it does.
    • 86 Metascore
    • 90 Bill Goodykoontz
    The whole film is an exercise in trust and the lack thereof. In the end, it’s a kind of horror film, really, a reminder that these sorts of things were endured by so many for so long, with hope an unlikely ally.
    • 91 Metascore
    • 90 Bill Goodykoontz
    Using the interviews along with news footage and occasional re-enactments, Moreh conducts a kind of primer in the organization’s history, which is, in its own way, a history of modern Israel. It’s fascinating.
    • 83 Metascore
    • 90 Bill Goodykoontz
    What makes 56 Up, like the “Up” films before it, so remarkable is how it puts these stories together, giving us an ensemble of characters as interesting as any in a scripted drama.
    • 79 Metascore
    • 90 Bill Goodykoontz
    This is not an anti-religious polemic, though it easily could have gone that way. Instead it is a much more thoughtful film and in some ways more troubling. No one is trying to do the wrong thing here, but, as with most things in life, it becomes increasingly hard to know what the right thing might be.
    • 80 Metascore
    • 90 Bill Goodykoontz
    It is undeniably fun to see such a great movie sliced and diced and put back together in so many ways. Too often when we see a movie we like, we just say it’s good, recommend it to someone and leave it at that.
    • 81 Metascore
    • 90 Bill Goodykoontz
    It’s all a neat trick. Or exercise. Or brain-teaser. Whatever you want to call it, Upstream Color is like nothing you’ve ever seen before. But once you have seen it, once isn’t going to be enough
    • 72 Metascore
    • 90 Bill Goodykoontz
    Star Trek Into Darkness is a giddy homage to what’s come before it, but it also at least tries to go boldly where ... well, you know.
    • 82 Metascore
    • 90 Bill Goodykoontz
    There is no particularly cathartic climax to Frances Ha. Instead there is a more realistic depiction of Frances’ growth. Like Gerwig’s performance, it’s natural, it’s realistic, perfectly believable.
    • 69 Metascore
    • 90 Bill Goodykoontz
    Directors Drew DeNicola and Olivia Mori’s film Big Star: Nothing Can Hurt Me looks at the band’s rise, such as it was, and its inevitable crumbling, as well as the influence its recorded legacy had on popular music. And it’s terrific.
    • 85 Metascore
    • 90 Bill Goodykoontz
    It isn’t just a terrific movie. It’s an important one.
    • 89 Metascore
    • 90 Bill Goodykoontz
    The Act of Killing is a horrifying film, a surreal experience that explores the limits of human cruelty. It’s a film that is absolutely hard to watch. It’s also a film that absolutely should be seen.
    • 82 Metascore
    • 90 Bill Goodykoontz
    James Ponsoldt’s film, and its stars, Miles Teller and Shailene Woodley, continually take us in unexpected directions, giving the film an unexpected depth. It feels real, its emotions earned.
    • 79 Metascore
    • 90 Bill Goodykoontz
    This is a film as powerful as it is painful.

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