For 719 reviews, this critic has graded:
  • 59% higher than the average critic
  • 4% same as the average critic
  • 37% lower than the average critic
On average, this critic grades 6.9 points higher than other critics. (0-100 point scale)

Joe Williams' Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Guardians of the Galaxy
Lowest review score: 25 New Year's Eve
Score distribution:
  1. Negative: 55 out of 719
719 movie reviews
    • 79 Metascore
    • 88 Joe Williams
    Although Precious is based on a novel, it's an act of truth-telling on behalf of a character in hellish enslavement.
    • 79 Metascore
    • 63 Joe Williams
    The most provocative thing in Joan Rivers: A Piece of Work is the moment during the opening credits when we glimpse the comedy legend without makeup.
    • 79 Metascore
    • 100 Joe Williams
    That action is bloody, but Fiennes' choices as director are unassailably apt and artful. Coriolanus is a triumph.
    • 79 Metascore
    • 88 Joe Williams
    With a mad captain at the helm, this documentary version of Jodorowsky’s “Dune” is probably more entertaining than what Hollywood would have done to it, with a clearer message: Our lives are like sands though an hourglass, so dream the impossible dream.
    • 79 Metascore
    • 88 Joe Williams
    It’s not only a fresh and funny spoof of the movie business, it represents a real-life triumph within it.
    • 79 Metascore
    • 75 Joe Williams
    In one of the most wickedly funny scenes in sci-fi history, Koba uses monkeyshines to bamboozle some gun-toting yahoos and scuttle the peace treaty.
    • 79 Metascore
    • 75 Joe Williams
    With its mix of true-blood romance and full-moon madness, Let Me In should hasten the twilight of the twerpy pretenders.
    • 79 Metascore
    • 63 Joe Williams
    I Am Love is easy to savor but tough to swallow.
    • 79 Metascore
    • 100 Joe Williams
    It starts as a bittersweet parable about the cruelty of commerce, but the wonder of Searching for Sugar Man will not soon slip away.
    • 78 Metascore
    • 75 Joe Williams
    As Refn is riffing on thriller cliches, he gets solid support from the ensemble. Brooks, a comedic standout since the '70s, makes a sympathetic villain, and Gosling stokes the young-Brando comparisons - instead of settling for Richard Gere.
    • 78 Metascore
    • 75 Joe Williams
    As the wife to a wolf of Wall Street, Blanchett shows us a lost sheep both before and after the slaughter. It’s not a pretty picture, but it’s twitching with life.
    • 78 Metascore
    • 100 Joe Williams
    The conclusion of Christopher Nolan's superhero trilogy is a hugely ambitious mix of eye candy and brain food. If it doesn't have the haunting aftertaste of the previous serving, that's only because Nolan couldn't clone Heath Ledger. But beefy substitute Tom Hardy is a hell of a villain.
    • 78 Metascore
    • 75 Joe Williams
    Like its neo-noir kin across the pond, The Guard is violent, profane and funny. But McDonagh is interested in more than mockery.
    • 78 Metascore
    • 63 Joe Williams
    Whether on stage or the screen, Much Ado About Nothing is a pleasure that passes like a midsummer night’s dream.
    • 78 Metascore
    • 75 Joe Williams
    While we await the definitive documentary about the glut of garbage, Waste Land reduces this global catastrophe to touchingly human scale.
    • 78 Metascore
    • 75 Joe Williams
    Of all the films to come out the conflict, Afghan Star is the most provocative, because its message that people are essentially the same is a dubious, double-edge sword.
    • 77 Metascore
    • 88 Joe Williams
    Iowa-native Gurira has had roles in TV’s “Treme” and “The Walking Dead,” but Mother of George should be the birth of a brilliant film career.
    • 77 Metascore
    • 75 Joe Williams
    In recording the timeless traditions of Jewry, he created a new one: the identity crisis that rides on the back of laughter.
    • 77 Metascore
    • 75 Joe Williams
    As an exercise in craft, it's surprisingly successful, thanks to the strong cast and the vivid depiction of a modern leader's security apparatus. But as a political statement or personal drama, The Ghost Writer is nearly invisible.
    • 77 Metascore
    • 75 Joe Williams
    In a movie of murky surfaces and deep loneliness, the redemptive surprise of A Single Man is how it becomes a clear endorsement of the Buddy System.
    • 77 Metascore
    • 75 Joe Williams
    The Messenger is the debut film of writer and director Oren Moverman, but it's worldly wise, with two well-rounded characters.
    • 77 Metascore
    • 75 Joe Williams
    Gleeson is great as the troubled, conscientious priest, but until an abruptly shocking finale, his fatalism turns the ticking clock into a congested hourglass.
    • 77 Metascore
    • 75 Joe Williams
    Mostly the movie is about process and perspective. Through the documentary lens, Richter's enigmatic paintings speak to us.
    • 77 Metascore
    • 75 Joe Williams
    Just when this black-and-white, microbudget movie seems poised to spring an indictment of the Dickensian social order, it ends, but in a redemptive ray of color.
    • 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.
    • 77 Metascore
    • 88 Joe Williams
    An artfully observant and unexpectedly moving documentary.
    • 76 Metascore
    • 75 Joe Williams
    Cunningham's answers to pointed questions about romantic love and religious faith are so open-hearted, we understand that he's bigger than just New York.
    • 76 Metascore
    • 75 Joe Williams
    Broken Embraces is stylish and sly, an engaging exercise that gives us less than meets the eye.
    • 76 Metascore
    • 88 Joe Williams
    The film is so masterfully controlled, we feel like we’ve eavesdropped on something like life.
    • 76 Metascore
    • 88 Joe Williams
    When a place and its people are this stylish, we can't help but be drawn to them.