For 721 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 7 points higher than other critics. (0-100 point scale)

Joe Williams' Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Up in the Air
Lowest review score: 25 New Year's Eve
Score distribution:
  1. Negative: 55 out of 721
721 movie reviews
    • 75 Metascore
    • 88 Joe Williams
    An evolutionary leap forward, a visually exquisite film that doesn't ignore the truths of pollution and predatory survival.
    • 75 Metascore
    • 63 Joe Williams
    The ingredients are in place for a potent finale, but “Catching Fire” is watered down.
    • 75 Metascore
    • 88 Joe Williams
    The most exhilarating film of the year is also the most exhausting.
    • 75 Metascore
    • 88 Joe Williams
    Co-directors Andrew Droz Palermo and Tracy Droz Tragos let the painful stories emerge naturally, without prodding questions or talking-head experts who place the boys’ grim lives in the larger context of the post-industrial economy.
    • 75 Metascore
    • 75 Joe Williams
    The macabre comedic undertones are reminiscent of a Coen brothers film like "Blood Simple." But a more apt comparison is to an obscure Canadian bank-heist flick called "The Silent Partner," in which teller Elliot Gould pockets some loot from thief Christopher Plummer. Both movies imitate an American idiom with a provincial accent.
    • 75 Metascore
    • 88 Joe Williams
    One part personal mystery and one part art-appreciation class.
    • 74 Metascore
    • 75 Joe Williams
    This deadpan police story produces unexpected chills.
    • 74 Metascore
    • 63 Joe Williams
    Like other so-called "mumblecore" movies, including Bronstein's own "Frownland," this is an unnervingly intimate glimpse of dysfunction, with a shaky-cam aesthetic and seemingly improvised dialogue.
    • 74 Metascore
    • 75 Joe Williams
    There are three sides to most love stories: his, hers and the truth. But on London's Fleet Street, the three sides are his, hers and the tabloids'.
    • 74 Metascore
    • 75 Joe Williams
    While the big-headed, spindly puppets don't evoke enough emotion to make the movie a must-see, Burton's 3-D design team pours its heart into the monochrome surroundings, from the suburban décor to Victor's laboratory to the carnival midway.
    • 74 Metascore
    • 75 Joe Williams
    How could you not marvel at a movie that includes a revisionist explanation of the JFK assassination, a football stadium floating over the White House and the sight of Richard Nixon firing a .45 at a villain in a Christ-figure pose?
    • 74 Metascore
    • 75 Joe Williams
    Like "Gone, Baby, Gone," the French film Polisse succeeds by shifting the focus from the victims to the vigilant protectors.
    • 74 Metascore
    • 63 Joe Williams
    Christopher Nolan's "Memento" was a movie-lover's dream come true, a puzzle that was engaging both intellectually and emotionally. But his Inception is a wake-up call, a blaring reminder that cheap tricks can't compensate for personal investment.
    • 74 Metascore
    • 75 Joe Williams
    Although Tomboy is as tightly constructed as a short story and as seemingly straightforward as a documentary, the parable about a small fib that grows out of control is so rooted in the rich soil of sexual identity that it entangles us.
    • 74 Metascore
    • 75 Joe Williams
    When the smoke clears, heady Farewell stands tall among the movies that view the Cold War at close range.
    • 74 Metascore
    • 63 Joe Williams
    Bully is a good start to a necessary conversation, but its loving voice is likely to be drowned out by haters who hide their own wounded hearts behind Internet pseudonyms and broadcast microphones.
    • 74 Metascore
    • 63 Joe Williams
    For all its professionalism, I found it as cold as the ice rink at Rockefeller Center.
    • 74 Metascore
    • 75 Joe Williams
    The first half of the film dusts off some kitschy picket-fence footage and alarmist news reports to invoke an era when homosexual acts were illegal in 49 states, and gays were subjected to arrest, electroshock and sterilization.
    • 74 Metascore
    • 75 Joe Williams
    Because of some sentimental backspin, Affleck doesn't quite hit it out of the park, but he may provoke the green monster of envy in lesser directors.
    • 74 Metascore
    • 75 Joe Williams
    With his actors and crew hewing to the script, the director’s craft is impeccable. His low-light images are suitable for framing, and there’s scarcely a moment of modernity, let alone humor or loose ends, to disrupt the tragic trajectory.
    • 74 Metascore
    • 75 Joe Williams
    Like the recent "Greenberg," Cyrus is not the jokey, polished production you would expect from its Hollywood cast and LA setting, but audiences who are comfortable with discomfort should find it "funny."
    • 74 Metascore
    • 63 Joe Williams
    While it may not be a smorgasbord of red herrings and red meat, Flame and Citron is often chilling.
    • 74 Metascore
    • 75 Joe Williams
    In steering a course between the rock of rude humor and the hard place of perilous drama, How to Train Your Dragon flies high.
    • 74 Metascore
    • 88 Joe Williams
    What makes it special is Eastwood's ability to artfully and concisely tell a story, and Morgan Freeman's wonderfully understated turn as South African President Nelson Mandela.
    • 74 Metascore
    • 38 Joe Williams
    It’s preposterous schlock masquerading as art.
    • 73 Metascore
    • 75 Joe Williams
    We are reminded: War is hell. But at their best, war movies can be cool and beautiful.
    • 73 Metascore
    • 75 Joe Williams
    The world-class mechanic is Brad Bird, who applies the pacing and spatial freedom of a 'toon to a live-action thriller.
    • 73 Metascore
    • 75 Joe Williams
    Arbitrage is never the nail-biting thriller that it could have been.
    • 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.
    • 73 Metascore
    • 63 Joe Williams
    Built on shaky and blood-soaked ground, but if towering technique is all you want from an action movie, then yippee-ki-yay.