For 777 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 6.8 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: 0 The Divergent Series: Insurgent
Score distribution:
  1. Negative: 64 out of 777
777 movie reviews
    • 75 Metascore
    • 75 Joe Williams
    The troupe's first film in more than a decade, is a more aggressively absurd antidote to what it calls "a hard, cynical world." Happily, it works.
    • 87 Metascore
    • 75 Joe Williams
    This very male and methodical movie is like the anti-“Gravity,” as the un-moored hero is quietly in control of his options and at peace with his possible failure.
    • 76 Metascore
    • 75 Joe Williams
    This Swedish sensation is a magic trick that jolts the murder-mystery genre back to life.
    • 82 Metascore
    • 75 Joe Williams
    Marley is thus a valuable history project but not a definitive or analytical one. For that, we await a film that's less "One Love" and more "Stir It Up."
    • 79 Metascore
    • 75 Joe Williams
    Few mainstream movies, let alone disability dramas, are so frank about sexual mechanics, yet notwithstanding the nudity, The Sessions isn't voyeuristic or sleazy.
    • 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.
    • 66 Metascore
    • 75 Joe Williams
    A good nature film - and a great technical achievement.
    • 61 Metascore
    • 75 Joe Williams
    A bit undernourished to fit into the crown of a comedy classic. But the sharp wit, soft-focus cinematography and slow-motion lyricism lift it into the realm of this summer’s nicest surprises.
    • 62 Metascore
    • 75 Joe Williams
    The documentary offers undercooked subplots about Gruber’s mostly Hispanic staff and his romance with a health-conscious Catholic acupuncturist, but Deli Man is best when it sticks to the menu.
    • 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?
    • 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.
    • 76 Metascore
    • 75 Joe Williams
    Gibney is as dramatic a storyteller as the Hollywood directors with whom he competes for our attention, and he employs a big bag of tricks.
    • 81 Metascore
    • 75 Joe Williams
    A fanciful French cousin to Allen's "Zelig" and "The Purple Rose of Cairo," yet the fulfilled wish for a better life is high-concept absurdity without high-anxiety guffaws.
    • 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.
    • 63 Metascore
    • 75 Joe Williams
    Although there's a skeletal story, A Cat in Paris evokes a mood instead of a moral. Like a cat nap, it gives us a brief, refreshing dream with little to remember.
    • 59 Metascore
    • 75 Joe Williams
    Neither as magic nor as trippy as the culture quake that it documents, but it's a valuable flashback and a pleasurable contact high.
    • 66 Metascore
    • 75 Joe Williams
    The campus comedy Pitch Perfect harmonizes high-end performance with low-brow spoofery. It's like a National Lampoon parody where the targets write the jokes.
    • 67 Metascore
    • 75 Joe Williams
    If you want to see a great movie about a political campaign, starring the smartest heartthrob of his era, rent "The Candidate." If you want see a very good one, buy a ticket for The Ides of March.
    • 69 Metascore
    • 75 Joe Williams
    While director Michael Roskam lays the groundwork for a heist thriller, The Drop is fueled by character, not plot.
    • 77 Metascore
    • 75 Joe Williams
    The Immigrant is not unlike a Prohibition-era “Taxi Driver,” with Cotillard as the apprentice hooker, Phoenix as the sweet-talking pimp and Jeremy Renner (playing the theater’s magician, Orlando) as the would-be savior.
    • 68 Metascore
    • 75 Joe Williams
    Aiming for a middle path between drama and comedy, The Way Way Back is so overloaded with jokes that it could sink in the water hazard, but on the final scorecard, sure enough, it’s in the hole.
    • 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.
    • 68 Metascore
    • 75 Joe Williams
    What Barrymore brings is good-natured, girl-powered subversion, a sense of when to flaunt clichés and when to flip them over the rails.
    • 55 Metascore
    • 75 Joe Williams
    Sticks to the syllabus of a decidedly minor movie, but its humanities faculty is first-rate.
    • 65 Metascore
    • 75 Joe Williams
    Even with a large cast, groovy clothes and cool pop songs, Hawkins holds our attention with a combination of modesty and moral strength.
    • 71 Metascore
    • 75 Joe Williams
    The sharp writing and tag-team antics lift 22 Jump Street to a high level.
    • 67 Metascore
    • 75 Joe Williams
    A minor revelation.
    • 63 Metascore
    • 75 Joe Williams
    It’s a measure of the movie’s success that we never stop to question how or when the trickery is employed.
    • 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.
    • 67 Metascore
    • 75 Joe Williams
    This well-executed sequel is sneaky. While it distracts us with Chinese backdrops and buffoonish humor, it sucker punches us with a message about belonging.

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