For 819 reviews, this critic has graded:
  • 60% higher than the average critic
  • 4% same as the average critic
  • 36% lower than the average critic
On average, this critic grades 4.5 points higher than other critics. (0-100 point scale)

Joe Williams' Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 Searching for Sugar Man
Lowest review score: 0 The Divergent Series: Insurgent
Score distribution:
  1. Negative: 67 out of 819
819 movie reviews
    • 37 Metascore
    • 50 Joe Williams
    Except for the dynamite finale, The Long Ranger feels like a long, slow ride to the dump, to the dump, to the dump, dump, dump.
    • 38 Metascore
    • 50 Joe Williams
    Although The November Man shows us some attractive people in motion, the cumulative effect leaves us neither shaken nor stirred.
    • 47 Metascore
    • 50 Joe Williams
    The diabolical sadist of the team was director Joe Carnahan.
    • 73 Metascore
    • 50 Joe Williams
    It's a worthy cause and an honorable film, the first full-length Disney cartoon with an African-American heroine. But without a strong story, it's a case of one step forward and two steps back.
    • 31 Metascore
    • 50 Joe Williams
    Even by the standards of light entertainment, This Means War is meaningless.
    • 42 Metascore
    • 50 Joe Williams
    Once we've quickly digested the fortune-cookie message that modern women are as bound by obligations as their grandmothers were, all we can savor is the scenery.
    • 49 Metascore
    • 50 Joe Williams
    Spurlock teases the baby sitter contingent with a brief scene where a scientist discusses the neuro-chemical appeal of pop music, but thereafter the film is aimed squarely at face-value fans of the Pre-Fab Five.
    • 59 Metascore
    • 50 Joe Williams
    Colin Firth is an Academy Award winner, so perhaps his lack of chemistry with fellow honoree Nicole Kidman is a carefully laid clue that his middle-aged newlywed Eric Lomax is damaged goods. Yet to the drama’s detriment, Lomax is about as poisonous as a week-old crumpet.
    • 44 Metascore
    • 50 Joe Williams
    The more suitably antic Robert Downey Jr. and Johnny Depp were considered for the part before Franco wandered into the picture with his stoner grin.
    • 44 Metascore
    • 50 Joe Williams
    We're the Millers is nothing but stems and seeds, with less buzz than a bag of oregano.
    • 39 Metascore
    • 50 Joe Williams
    Despite the oddly literate title, Vincent Wants to Sea never deviates from the predictable bonding-through-misadventure script, and it has little to teach us about the nature and treatment of the traveler's respective maladies.
    • 28 Metascore
    • 50 Joe Williams
    Weaver is a natural as the imperious Ramona, but the rest of the cast is flattened by the script, particularly White, who is just window-dressing in a movie that could use the rude humor she's displayed elsewhere.
    • 56 Metascore
    • 50 Joe Williams
    The kiddie audience will laugh a few times, but it would take an electron microscope to find an original idea or joke in this entire cartoonish movie.
    • 58 Metascore
    • 50 Joe Williams
    Footloose poses as a bold update, but it's shockingly out of step with the times.
    • 35 Metascore
    • 50 Joe Williams
    Here, the scattershot spoofery never rings true.
    • 66 Metascore
    • 50 Joe Williams
    Fast Five represents Yankee ingenuity of the brutally stupid kind.
    • 20 Metascore
    • 50 Joe Williams
    Mostly "Hoodwinked Too" is playing to young video gamers, with overblown action sequences and slangy 'tude.
    • 65 Metascore
    • 50 Joe Williams
    People over 60 are as sexual and complicated as their grandchildren, and there ought to be more movies about them, but only an audience as constipated as these characters could mistake this lukewarm stream of pablum for a hard nugget of truth.
    • 35 Metascore
    • 50 Joe Williams
    Ultimately it's sunk by the hole in the middle: Paul Campbell (presidential aide Billy on "Battlestar Galactica") who substitutes smarm for charm as the archetypal player who gets played.
    • 28 Metascore
    • 50 Joe Williams
    To paraphrase a classic of Reagan-era cinema, A Good Day to Die Hard is a bad day to stop sniffing glue.
    • 57 Metascore
    • 50 Joe Williams
    Snark is not art. In the evolutionary spectrum of cinema, Natural Selection is like the duck-billed platypus, pretending to be warm-blooded but more than a little fowl.
    • 71 Metascore
    • 50 Joe Williams
    By design it’s monotonous, and with so much clunky hardware, Liman can’t generate the same pace he produced in the “Bourne” movies. Edge of Tomorrow has neither an edge nor a vision of tomorrow that matters today.
    • 37 Metascore
    • 50 Joe Williams
    It's hard to hate a movie that escorts us to such lovely locales, but instead of marking the territory as her own, Madonna has directed a potentially provocative story like a virgin.
    • 60 Metascore
    • 50 Joe Williams
    RED
    Red is an insult to our memories and to our intelligence, an unfunny farce whose veteran cast is cashing a retirement check.
    • 67 Metascore
    • 50 Joe Williams
    Damsels in Distress is shockingly tone-deaf. Stillman is still capable of a few amusing quips, but his storytelling is sophomoric.
    • 56 Metascore
    • 50 Joe Williams
    So friction-free that it slips from memory before the credits fade.
    • 59 Metascore
    • 50 Joe Williams
    In my old New Jersey public school, the first thing we learned was the smell of baloney.
    • 63 Metascore
    • 50 Joe Williams
    We need to have a dialogue about the wages of war in the remote-control era. But it’s hard to spark a good dialogue with movies whose dialogue is so bad.
    • 41 Metascore
    • 50 Joe Williams
    Proficient director Peter Berg ("Hancock") keeps the noise so deafening we can't think about how preposterous it all is.
    • 38 Metascore
    • 50 Joe Williams
    There’s a good movie to be made about the alienating effects of modern technology. In 2013, a little-seen indie called “Disconnect,” starring Jason Bateman, came closer than this well-intentioned failure, which has virtually no heart, humor, sense of place or central point of view. In trying to be a big, important movie, Men, Women & Children is about none of the above.

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