For 818 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 4.9 points higher than other critics. (0-100 point scale)

Joe Williams' Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers
Lowest review score: 0 The Divergent Series: Insurgent
Score distribution:
  1. Negative: 67 out of 818
818 movie reviews
    • 31 Metascore
    • 50 Joe Williams
    While the plot is as flimsy as a hooker's halter top, it's buoyed by two actors with attitude and timing.
    • 46 Metascore
    • 50 Joe Williams
    The settings and supporting roles suggest that If I Stay started out as someone’s passion project, but the final product only requires its star to sleepwalk through buckets of schlock.
    • 39 Metascore
    • 50 Joe Williams
    It's almost offensive that Danny Glover is relegated to playing the mysterious old confidante who haunts the same fishing hole as Cal. By the time Glover's character delivers the homily, Legendary is pinned to the mat.
    • 41 Metascore
    • 50 Joe Williams
    As long as Hollywood keeps hitting us over the head with empty spectacles like G.I. Joe: Retaliation, regular Joes will be too numb to fight back.
    • 60 Metascore
    • 50 Joe Williams
    With stingy portions and plenty of filler, Magic Mike XXL is the worst sausage party ever.
    • 52 Metascore
    • 50 Joe Williams
    The most rewarding way to watch Water for Elephants is to focus on the sideshow of costumes and craftsmanship, because the romance in the center ring smells like trained animals going through the motions.
    • 57 Metascore
    • 50 Joe Williams
    There's a fascinating story here for a bolder filmmaker, but after so much meandering it's a relief that "All Good Things" must come to an end.
    • 62 Metascore
    • 50 Joe Williams
    Because we don't know or care much about the characters, this Israeli film never fulfills its potential as either an absurdist comedy or a humane drama.
    • 44 Metascore
    • 50 Joe Williams
    ’Round these parts, when a movie promises a million laughs but only delivers a dozen chuckles, that’s a hanging offense.
    • 35 Metascore
    • 50 Joe Williams
    Here, Dan Aykroyd mimics the original voice, but the three-dimensional CGI isn't loose and lively enough to compensate for the unimaginative story.
    • 62 Metascore
    • 50 Joe Williams
    Judged solely in comparison to its corporate cousins, Iron Man 3 is a defective model. It’s lightweight but slow, padded with cheap jokes to disguise how hollow it is.
    • 77 Metascore
    • 50 Joe Williams
    Duvall is a powerful actor, and this folksy fable could have been a career-capping feat, but the movie is toothless and slow.
    • 34 Metascore
    • 50 Joe Williams
    This gravely serious drama is as insular as a tomb with Muzak. It takes a particularly heavy hand to make us numb to the abduction of two children, but that's the effect of the wall-to-wall music and earnestly dour performances.
    • 59 Metascore
    • 50 Joe Williams
    Back when it was planned as an African-American "Ocean's Eleven," this project might have been edgy, but the script has been whitewashed into a generic caper comedy with pretensions of timeliness.
    • 46 Metascore
    • 50 Joe Williams
    The movie version of Fifty Shades is better than the book. It's still awful, but when a filmmaker starts with stupid source material, he's handcuffed.
    • 41 Metascore
    • 50 Joe Williams
    This is an extremely gory flick, with autopsy scenes to complement Schwarzenegger’s usual shoot-first sensibilities. After 30 years, it’s pointless to complain about the collateral damage in his movies, but here Schwarzenegger is taking vigilante justice to dark new levels that can only be reached via plot holes big enough for a Hummer.
    • 54 Metascore
    • 50 Joe Williams
    The questions raised by Oblivion aren’t especially deep, but the movie does answer a puzzler that has troubled humankind for generations: Can Tom Cruise build a concept so big that he himself can’t lift it?
    • 60 Metascore
    • 50 Joe Williams
    The mediocre mushy stuff isn’t alleviated by enough action.
    • 46 Metascore
    • 50 Joe Williams
    While it claims to be exported from New Jersey, The Oranges is peddling an alien motto: When life hands you lemons, fuhgeddaboudit.
    • 51 Metascore
    • 50 Joe Williams
    The verdict on Snitch is that Johnson has attempted a career detour on a street marked Do Not Enter.
    • 37 Metascore
    • 50 Joe Williams
    Considerably better looking than its predecessor, but it's spewing the same old gibberish.
    • 57 Metascore
    • 50 Joe Williams
    Spacey evokes memories of other movies in which he's played a shark, and it's inherently fascinating to hear Aniston talking dirty and to see Farrell with a combover, but nothing in the film is genuinely provocative.
    • 32 Metascore
    • 50 Joe Williams
    Because the affable Wahlberg is making the sales pitch, you could kid yourself that this is just a high-tech vacuum cleaner, built to siphon loose change like popcorn. But our failure to understand the terrifying significance of the “Transformers” series is why we're in the age of extinction.
    • 47 Metascore
    • 50 Joe Williams
    It's a worn-out show-business fairy tale piggybacking on a nonexistent trend.
    • 46 Metascore
    • 50 Joe Williams
    It's classic sitcom shtick, and The Dilemma is a painful reminder that director Ron Howard was trained in television.
    • 45 Metascore
    • 50 Joe Williams
    A movie with no surprises at all, a streamlined chase flick that is running on the fumes from recycled fuel.
    • 53 Metascore
    • 50 Joe Williams
    Here's a riddle: What's Alice in Wonderland without wonder? It's a beloved character landing in the rubble of wrong-headed revisionism.
    • 55 Metascore
    • 50 Joe Williams
    It's eerie rather than wondrous.
    • 66 Metascore
    • 50 Joe Williams
    This is another one of those phony movies in which a character burrows into someone else's life without telling them she's an axe murderer, a man or a vampire. Not only that, we're supposed to hope that they get it on. I was hoping that everyone involved would get hit by an asteroid.
    • 66 Metascore
    • 50 Joe Williams
    We were promised desolation, but “The Hobbit” just keeps dragon on.
    • 32 Metascore
    • 50 Joe Williams
    If Repo Men could have sustained its ghoulish humor, it might have been a guilty pleasure.
    • 44 Metascore
    • 50 Joe Williams
    Although the ratio of comedy to drama becomes increasingly weighted toward tearjerking, few of the emotional moments are realistic or effective.
    • 61 Metascore
    • 50 Joe Williams
    OK, the musical ode to Doby the shark elicits a grin, but the low-percentage script is loaded with buckshot, not harpoons, and Anchorman 2 ends up sinking.
    • 61 Metascore
    • 50 Joe Williams
    How you feel about Fast & Furious 6 is a matter of perspective. While a middle-age egghead might note that a series that started out as a harmless cars-and-girls fantasy has devolved into a full-blown assault on human intelligence.
    • 47 Metascore
    • 50 Joe Williams
    Written, directed and acted by Hollywood pros, Heaven Is For Real is a polished little movie with a hopeful message, but when it literalizes the divine mysteries, it opens the door to a Doubting Thomas.
    • 42 Metascore
    • 50 Joe Williams
    One small step for action movies, one giant leap into the abyss of mindlessness.
    • 63 Metascore
    • 50 Joe Williams
    Out of the Furnace is hot air.
    • 53 Metascore
    • 50 Joe Williams
    As a sex-education comedy, Hysteria is flaccid, forced and unfunny.
    • 41 Metascore
    • 50 Joe Williams
    Kevin Hart hits the vicinity of humor with a few of his drive-by wisecracks, but the movie itself has nothing under the hood.
    • 40 Metascore
    • 50 Joe Williams
    The clichéd script doesn't develop the secondary characters or the critical theme of the mutants' alienation.
    • 66 Metascore
    • 50 Joe Williams
    The delivery pouch for Premium Rush promises a white-hot thriller from the bike-messenger subculture. But what's inside the package seems like a lukewarm action-comedy from the pile of scripts that Matthew Broderick rejected after "Ferris Bueller's Day Off."
    • 45 Metascore
    • 50 Joe Williams
    There's nothing cinematic about this turgid tearjerker except the slumming presence of movie star Harrison Ford.
    • 44 Metascore
    • 50 Joe Williams
    It's clear that Phillips is betting heavily on funnymen Jeong and Galifianakis to hide his creative bankruptcy.
    • 52 Metascore
    • 50 Joe Williams
    A handsome movie with a handsome leading man. Christian Bale is widely considered the finest actor of his generation. Yet here he’s adrift in the bulrushes. This might be the most indifferent performance of Bale’s career.
    • 59 Metascore
    • 50 Joe Williams
    J. Edgar is the kind of prestige production that apologists will call polished, but even the technical attributes are tinny. In the gay-geezers scenes, Hammer wears terrible old-age makeup, and the entire film is bathed in sepia tones as weak as its convictions.
    • 47 Metascore
    • 50 Joe Williams
    The special effects remain good, but the jokes are creaky, the sentiments are forced and the pop-historical lessons are obligatory.
    • 39 Metascore
    • 50 Joe Williams
    This movie, which was made by an animation studio in Spain, isn't trying to make a social statement; it speaks in the international language of lightweight comedy.
    • 60 Metascore
    • 50 Joe Williams
    A medical drama that pays lip service to the healing power of music but never finds the rhythm.
    • 53 Metascore
    • 50 Joe Williams
    The Big Year puts the focus on people who aren't inherently interesting - or funny.
    • 51 Metascore
    • 50 Joe Williams
    Starved of sufficient comedy or drama, The Age of Adaline is a pipsqueak.
    • 56 Metascore
    • 50 Joe Williams
    Minions is product, pure and simple. Little kids will love it, but grown-ups will feel like they’re being held hostage in a Fisher-Price test laboratory.
    • 51 Metascore
    • 50 Joe Williams
    The most grievous sins here are sins of omission.
    • 63 Metascore
    • 50 Joe Williams
    Hot Tub Time Machine isn't a good movie, but like a bubbling bath it keeps pounding at us until our resistance wears down.
    • 76 Metascore
    • 50 Joe Williams
    Lovely to look at, and Vikander does nothing to derail her inevitable ascension to the A-list. But as a story, it evokes a word that no battlefield nurse would ever apply to her experiences: sterile.
    • 40 Metascore
    • 50 Joe Williams
    The setting and offbeat tone may remind some viewers of another recent comedy, but whereas “The Descendants” was a substantive meal, Aloha is a pu pu platter.
    • 43 Metascore
    • 50 Joe Williams
    Has a welcome message of personal growth and racial tolerance. And it's ably made, with evocative Memphis locations. But in the final sermon, it proffers some plot twists that are supposed to be miraculous but may strike a doubting Thomas as lame.
    • 61 Metascore
    • 50 Joe Williams
    In getting so many of the Midwestern details wrong, worldly director Bahrani (“Chop Shop”) teaches an inadvertent lesson to aspiring filmmakers who want to follow his footsteps to the festival circuit: Grow where you’re planted.
    • 41 Metascore
    • 50 Joe Williams
    To stand out in a crowded marketplace, a sequel can’t just kick ass — it has to blow minds.
    • 55 Metascore
    • 50 Joe Williams
    Instead of entertaining us, director Robert Redford offers us a handsome history lesson that's as dry as a hardtack biscuit.
    • 45 Metascore
    • 50 Joe Williams
    The few Jewish characters are cartoonishly evil, but even the Palestinians are sketchily dramatized or, in the case of a terrorist, clumsily legitimized.
    • 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.
    • 67 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.
    • 61 Metascore
    • 50 Joe Williams
    The way that Muppets Most Wanted grabs for the green is criminal.
    • 56 Metascore
    • 50 Joe Williams
    His (Eastwood) first boring film.
    • 62 Metascore
    • 50 Joe Williams
    The latest Hollywood version of the Godzilla story is neither fun nor fearsome. It’s an empty spectacle in which the humans are as meaningless as the monster.
    • 34 Metascore
    • 50 Joe Williams
    Technically proficient enough to keep us intrigued; but we shouldn't have to Google a movie to know if we were scared.
    • 50 Metascore
    • 50 Joe Williams
    Letters to Juliet has about half as much Shakespearean content as "Shakes the Clown" and even less sincerity.
    • 56 Metascore
    • 50 Joe Williams
    What it lacks is the human element. Charlie is more of a rat than a rascal, and instead of working hard to build and operate his robots, he's literally going through the motions.
    • 62 Metascore
    • 50 Joe Williams
    Despite the title, My One and Only is irritatingly repetitive.
    • 45 Metascore
    • 50 Joe Williams
    Initially, the puzzle structure and a pair of Oscar-winning actresses distract us from the dark vacuum at the center of this enterprise, but when it implodes, it doesn't reverberate.
    • 36 Metascore
    • 50 Joe Williams
    With such a thin excuse for a leading man, Arthur is a dud.
    • 63 Metascore
    • 50 Joe Williams
    Second verse, not as good as the first.
    • 58 Metascore
    • 50 Joe Williams
    Everything about Trouble With the Curve is as streamlined and hollow as a Wiffle Ball bat.
    • 37 Metascore
    • 50 Joe Williams
    Although it’s superficially grungy, this true story isn’t much more substantive than something that star Vanessa Hudgens might have made for the Disney Channel and considerably less shocking than her career gambit in “Spring Breakers.”
    • 42 Metascore
    • 50 Joe Williams
    Congratulations, visitor. You have been randomly selected to beta test an entertainment-software product called “The Internship 2.0.”
    • 40 Metascore
    • 50 Joe Williams
    War of the Buttons is handsomely crafted and it's touting tolerance, but as long as we open the gates to the Trojan horse of historical simplification, there's a danger that Hollywood could attack us with "The Goonies Go to the Gulag." Be vigilant!
    • 36 Metascore
    • 50 Joe Williams
    Based on an acclaimed novel by Ron Rash, Serena is like a towering tale that’s been fed into a woodchipper.
    • 34 Metascore
    • 50 Joe Williams
    What might have seemed like a lively idea -- an all-star roundelay about love in Los Angeles -- is as fossilized as the wooly mammoths in the La Brea Tar Pits.
    • 47 Metascore
    • 50 Joe Williams
    The only edge in the movie is represented by Russell Brand, who actually lived the lifestyle, but he's muzzled by a bad Liverpool accent and a gay subplot that's as insincere as the swaggering anthems by fatuous hacks like Foreigner, Starship and Journey.
    • 49 Metascore
    • 50 Joe Williams
    Pine and the always-watchable Banks make the best of a bad screenplay, but People Like Us gives us nothing that we can relate to.
    • 49 Metascore
    • 50 Joe Williams
    30 Minutes or Less could have been a guilty pleasure, but the crusty caper is half baked.
    • 57 Metascore
    • 50 Joe Williams
    Although it's stuffed with subplots, gadgets and bad guys, this tinny contraption is half-hearted.
    • 36 Metascore
    • 50 Joe Williams
    If this movie wanders into your neighborhood, the only watch that will hold your attention is the timepiece on your wrist.
    • 37 Metascore
    • 50 Joe Williams
    The fatal flaw of this screenwriting term paper is that Cooper's character is a boring jerk we're supposed to regard as a nice guy who made an honest mistake.
    • 51 Metascore
    • 50 Joe Williams
    The documentary Live from New York is a separate thing. It doesn’t try to be wild and crazy, and it can’t be comprehensive. Like a land shark, it’s an uncomfortable hybrid that bites off more than it can chew.
    • 31 Metascore
    • 50 Joe Williams
    As usual for the comedies he produces, Sandler keeps pooping in the sandbox, and he expects the audience to give him a cookie for it. It’s a shame that he forces Barrymore to get soiled too.
    • 28 Metascore
    • 50 Joe Williams
    Mired in phoniness up to its neck. And above that, there's nothing.
    • 42 Metascore
    • 50 Joe Williams
    While the cast is filled with award winners, writer-director Daniel Barnz is a dunce who can't construct an argument without employing flimsy logic and cardboard characters.
    • 40 Metascore
    • 50 Joe Williams
    As in the mindless Man on a Ledge, the hero is never really in danger, we're the ones who are trapped.
    • 86 Metascore
    • 50 Joe Williams
    For his complex portrayal, Day-Lewis is likely to have roses thrown at his feet, but for the dreadful film in which he's enslaved, emancipated onlookers will reach for the grapes of wrath.
    • 47 Metascore
    • 50 Joe Williams
    Red 2 is not just a bad movie, it’s bad karma. And the target audience of adult moviegoers who respect the names in its once-vital cast have a bull’s-eye on their collective cranium.
    • 61 Metascore
    • 50 Joe Williams
    The wrinkles between reality and illusion soon become irritating.
    • 68 Metascore
    • 50 Joe Williams
    Land Ho! is a tepid little movie that goes almost nowhere, and if I had to sit in that rental car for one more boob joke, I’d rather jump into a volcano.
    • 44 Metascore
    • 50 Joe Williams
    It requires a mild suspension of disbelief to accept that slacker David would suddenly intervene in so many lives, pretending to be a good Samaritan.
    • 41 Metascore
    • 50 Joe Williams
    Shakespeare’s play evokes the poetry of undying love, but this Romeo and Juliet is prosaic.
    • 55 Metascore
    • 50 Joe Williams
    Savvy filmgoers will know they are getting a stale product as soon as they see the wrapper: one of those vintage muscle cars that screams “stakeout.”
    • 60 Metascore
    • 50 Joe Williams
    A road-trip comedy that somehow renders both promiscuity and racism harmless. While we're soaking up the sunny surroundings, we're getting nowhere.
    • 56 Metascore
    • 50 Joe Williams
    Its mean-spiritedness, stupidity and squandering of talent is uniquely Hollywood.
    • 23 Metascore
    • 50 Joe Williams
    In Couples Retreat, it's Favreau, not Vaughn, who is wound up, and this vacation comedy goes nowhere.
    • 33 Metascore
    • 50 Joe Williams
    There Be Dragons is tethered to the earth by a tangled plot, wooden acting and the heavy burden of healing old wounds.
    • 48 Metascore
    • 50 Joe Williams
    This is a brutal and stupid movie.
    • 59 Metascore
    • 50 Joe Williams
    Whose story is this? There’s an old saying that history is written by the winners. The screenplay for The Hobbit: The Battle of the Five Armies must have been written by elves.
    • 46 Metascore
    • 50 Joe Williams
    Extremely Loud and Incredibly Close is supposed to promote healing, but as they say in New York: close, but no cigar.
    • 42 Metascore
    • 50 Joe Williams
    An ambitious movie, but ultimately there’s too much “artificial” and not enough “intelligence.”
    • 40 Metascore
    • 50 Joe Williams
    Further proof that likable actors have to take an occasional sick day.
    • 63 Metascore
    • 50 Joe Williams
    Fans of the franchise will greet Les Misérables as a feast for the senses, but the rest of us are left with crumbs.
    • 25 Metascore
    • 50 Joe Williams
    Yet if you’re old enough to read this and you find yourself at a screening, try thinking about the munchkins who worked so hard on the psychedelic scenery.
    • 54 Metascore
    • 50 Joe Williams
    The film is constructed from four flimsy vignettes that are artlessly overlapped.
    • 63 Metascore
    • 50 Joe Williams
    Megamind falls flat.
    • 62 Metascore
    • 50 Joe Williams
    Squeezes plenty of color and noise from a thin concept, then runs with it until non-fanatics can’t keep up.
    • 52 Metascore
    • 50 Joe Williams
    The derivative script and skimpy effects don’t convey either the power or the problems of being a young witch.
    • 52 Metascore
    • 50 Joe Williams
    A faithful remake of RoboCop would be timely. Instead, the producers of this new version have retreated back to the lab, concocting a creaky hybrid of “Frankenstein” and “Call of Duty.”
    • 56 Metascore
    • 50 Joe Williams
    This shrill caper is more like a blind date between fingernail and chalkboard.
    • 34 Metascore
    • 50 Joe Williams
    Hallstrom (“Chocolat”) makes the mishmash palatable, and romance mainstay Duhamel provides some sweet-and-salty charm, but there’s not much they can do with Sparks’ canned dialogue and Hough’s undercooked acting.
    • 50 Metascore
    • 50 Joe Williams
    Closed Circuit is not a tense thriller about the new era of surveillance — it's a tepid thriller about the old notion that no leader can be trusted.
    • 49 Metascore
    • 50 Joe Williams
    Terminator Salvation is a tale told idiotically, full of sound and fury, signifying nothing.
    • 67 Metascore
    • 50 Joe Williams
    If you don’t crave the taste of motor oil on your popcorn, Furious 7 can’t end fast enough.
    • 47 Metascore
    • 50 Joe Williams
    You ought to have a movie that's both smart and sexy. But Jennifer's Body is neither. Most damning of all, it's not scary.
    • 59 Metascore
    • 50 Joe Williams
    Rooted in empty materialism, but it never evokes the heady rush of a guilty pleasure or the precipitous payback of a thriller.
    • 40 Metascore
    • 50 Joe Williams
    a horrific misstep in the branding of Robert Pattinson. The erstwhile teen vampire, who daringly portrayed gay surrealist Salvador Dalí in last year's "Little Ashes," lurches backward into a pile of romantic rubbish.
    • 62 Metascore
    • 50 Joe Williams
    It's as if there's a missing reel of film that could tie the story together and give it the emotional impact it takes for granted.
    • 17 Metascore
    • 50 Joe Williams
    There are good movies to be made about romantic obsession, but the premise doesn't work if the crazy stalker isn't juxtaposed with a sympathetic victim.
    • 84 Metascore
    • 50 Joe Williams
    There are a few beguiling moments in Holy Motors, particularly a martial-arts sequence and an erotic dance while Mr. Oscar is dressed in a motion-capture body suit, but the road between those moments is so strewn with stalled ideas that audiences who care about character and plot are liable to take the exit to a movie that makes sense.
    • 51 Metascore
    • 50 Joe Williams
    If you can’t guess that the whole thing ends with a big dance number, you’ve been snoozing in your samosas.
    • tbd Metascore
    • 50 Joe Williams
    In this flick, the dark side is as bright as a cruise-ship showroom, where the singing and dancing would fit nicely, while the jokes are as dull as Disney sitcom throwaways.
    • 51 Metascore
    • 50 Joe Williams
    Ender’s Game is a blandly sanitized spectacle.
    • 48 Metascore
    • 50 Joe Williams
    Imagine if the "Godfather" saga had been told from the point of view of Talia Shire's character. The perspective of a don's daughter could produce a compelling movie, but The Sicilian Girl isn't it.
    • 38 Metascore
    • 50 Joe Williams
    This mash-up movie is like a greatest-hits collection for obsessive collectors. On its own terms, Terminator Genisys makes virtually no sense.

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