For 100 reviews, this critic has graded:
  • 60% higher than the average critic
  • 3% same as the average critic
  • 37% lower than the average critic
On average, this critic grades 7.3 points higher than other critics. (0-100 point scale)

Bill Stamets' Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 Ida
Lowest review score: 12 The Room
Score distribution:
  1. Positive: 75 out of 100
  2. Negative: 5 out of 100
100 movie reviews
    • 57 Metascore
    • 75 Bill Stamets
    Set in England, the dystopic “Brazil” and “28 Days Later” both ended with pastoral idylls for adult couples. How I Live Now offers adolescents a lovely vision of holistic healing in the same countryside.
    • 69 Metascore
    • 75 Bill Stamets
    Bastards is both visceral and visual.
    • 76 Metascore
    • 75 Bill Stamets
    A diverting tutorial with this takeaway: “Let’s be puzzled about what seems obvious.”
    • 59 Metascore
    • 75 Bill Stamets
    This buddy/road film builds tension with its missing person quest in a border-crossing underworld.
    • 72 Metascore
    • 75 Bill Stamets
    Following the Ninth: In the Footsteps of Beethoven’s Final Symphony is one more bravo for the iconic masterpiece.
    • 61 Metascore
    • 75 Bill Stamets
    Dhoom:3 entertains as a spectacle of chases, bank capers, magic acts and song-and-dance numbers.
    • 42 Metascore
    • 75 Bill Stamets
    Slocombe may not carve up his kin for Cold Turkey, but he serves a wry repast.
    • 81 Metascore
    • 75 Bill Stamets
    At Berkeley earns credit for documenting a distinctly articulate community.
    • 85 Metascore
    • 75 Bill Stamets
    The Past is an understated study of two marriages in transition.
    • 57 Metascore
    • 75 Bill Stamets
    Director Philipp Kadelbach crafts a war drama cued to the ethics of the characters.
    • 65 Metascore
    • 75 Bill Stamets
    We get a parable of individualism and its perils for a turn-of-the-20th century woman, one proclaimed by a critic of her time “a revolt against nature: a woman genius.”
    • 80 Metascore
    • 75 Bill Stamets
    Murmelstein answers his accusers in The Last of the Unjust. Over a compelling three hours and 38 minutes.
    • 87 Metascore
    • 75 Bill Stamets
    The Missing Picture is a wrenching yet tender memoir by Rithy Panh about life and death in the time of Pol Pot.
    • 73 Metascore
    • 75 Bill Stamets
    This late adulthood lark is a treat.
    • 79 Metascore
    • 75 Bill Stamets
    [A] diverting documentary.
    • 74 Metascore
    • 75 Bill Stamets
    Joe
    Gripping and at times agonizing.
    • 79 Metascore
    • 75 Bill Stamets
    Jim Jarmusch stocks his latest low-key indie with more than his usual characters in low-velocity drift. The Akron-born auteur infuses the title couple of Only Lovers Left Alive with his taste for culture, if not cuisine.
    • 69 Metascore
    • 75 Bill Stamets
    Focusing on Rumsfeld’s 2001-06 stint at the Pentagon, Morris scrutinizes his rhetoric and rationale for attacking Iraq and Afghanistan. Tactics and costs take a back seat to semantics.
    • 56 Metascore
    • 75 Bill Stamets
    Lovingly detailed with animated and archival imagery, For No Good Reason shares the fine-grain layered style of its subject.
    • 71 Metascore
    • 75 Bill Stamets
    Snappy graphics channel the info flow like a sugar rush. Scary music cues are overused. Narrator Katie Couric wisely stays offscreen. That keeps Fed Up from feeling like an Oprah special.
    • 64 Metascore
    • 75 Bill Stamets
    Supermensch sells the impression that its subject is a genuinely good guy.
    • 67 Metascore
    • 75 Bill Stamets
    Instead of venturing outside Outpost Restrepo, we hear what the soldiers feel about their 15-month deployment.
    • 71 Metascore
    • 75 Bill Stamets
    A disquieting film about testing faith.
    • 60 Metascore
    • 75 Bill Stamets
    In the introspective The Last Sentence Swedish director Jan Troell invokes ’50’s and ’60’s Swedish cinema: masterly black-and-white cinematography, philosophical angst, a lifeless marriage and loved ones visiting from the afterlife.
    • 67 Metascore
    • 75 Bill Stamets
    This understated documentary, though, has no agenda to shame any one family or agency.
    • 42 Metascore
    • 75 Bill Stamets
    Servillo charms in his dual turn, then takes it up a notch when one brother shows off his childhood knack for impersonating his look-alike.
    • 75 Metascore
    • 75 Bill Stamets
    Resisting screen rules is Godard’s forte.
    • 57 Metascore
    • 70 Bill Stamets
    Greene delivers a wrenching performance, and like "Smoke Signals," the film ends with a cathartic, triumphant flourish.
    • 72 Metascore
    • 70 Bill Stamets
    For the most part this is a scenic and well-scored Holocaust survival tale.
    • 71 Metascore
    • 70 Bill Stamets
    As a director, Singleton shares with Furious a didactic streak. Singleton is no demagogue, but his fast-action style tends to erase the nuances of interracial dynamics.

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