For 83 reviews, this critic has graded:
  • 59% higher than the average critic
  • 3% same as the average critic
  • 38% lower than the average critic
On average, this critic grades 8.2 points higher than other critics. (0-100 point scale)

Bill Stamets' Scores

  • Movies
Average review score: 67
Highest review score: 100 The Act of Killing
Lowest review score: 20 Stealing Harvard
Score distribution:
  1. Positive: 63 out of 83
  2. Negative: 4 out of 83
83 movie reviews
    • 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.
    • 80 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.”
    • 78 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.
    • 73 Metascore
    • 75 Bill Stamets
    Joe
    Gripping and at times agonizing.
    • 77 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.
    • 63 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.
    • 75 Metascore
    • 75 Bill Stamets
    A disquieting film about testing faith.
    • 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.
    • 44 Metascore
    • 70 Bill Stamets
    But Girl 6 isn't what we'd expect from Spike Lee: after exhorting his fans to wake up in his early efforts, he now tempts them to hang up.
    • 64 Metascore
    • 70 Bill Stamets
    Director Tarsem (The Cell) reworks the 1981 Bulgarian film "Yo Ho Ho" for this stylish fantasy.
    • 63 Metascore
    • 63 Bill Stamets
    Kleine could have used Gregory’s lifelong trajectory to tell a larger story of the international avant-garde theater scene. Instead there is overmuch fuss about his coterie of dear companions.
    • 67 Metascore
    • 63 Bill Stamets
    Chilean writer-director Sebastian Silva re-creates a youthful road trip with a head trip at the end in Crystal Fairy & the Magical Cactus, more character sketch than psychedelic sojourn.
    • 74 Metascore
    • 63 Bill Stamets
    A naturalist comic of inarticulate manners, writer-director Andrew Bujalski attempts the ensemble styles of Robert Altman and Christopher Guest to peer into a micro-culture in Computer Chess.
    • 62 Metascore
    • 63 Bill Stamets
    Stylistically, this saga of survival never aims for urban neo-realism. Yet, as sentimental humanism, it shows laudable taste in dodging the usual indulgent touches and turns when lost kids find their way.
    • 83 Metascore
    • 63 Bill Stamets
    Observant with mannered edits, Jem Cohen’s modest story delivers a character sketch and a traveler’s essay.