For 817 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 6.3 points higher than other critics. (0-100 point scale)

Joe Williams' Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Silver Linings Playbook
Lowest review score: 0 The Divergent Series: Insurgent
Score distribution:
  1. Negative: 67 out of 817
817 movie reviews
    • 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.
    • 49 Metascore
    • 75 Joe Williams
    This thriller about the game-changing website Wikileaks is as smart about cyberspace as “The Social Network,” but there’s a glitch when it shifts the focus from felonious leaders to the misdemeanors of the man who exposed them.
    • 75 Metascore
    • 75 Joe Williams
    After we hear the hit parade that poured from rural Alabama and meet the men who led it to the top of the charts, we realize that Muscle Shoals could call itself Hitsville, USA.
    • 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.
    • 67 Metascore
    • 75 Joe Williams
    On a moral-justice level, we’d like to see this worm squirm a little more over his treatment of ex-colleagues before we let him off the hook to say that everyone else was cheating too.
    • 52 Metascore
    • 75 Joe Williams
    With Labor Day, director Jason Reitman turns a Nicholas Sparks scenario into an Alfred Hitchcock creep-show.
    • 76 Metascore
    • 75 Joe Williams
    Jenison, who had never painted a thing in his life, does indeed produce a beautiful work, but we should never forget that Penn and Teller are professional bamboozlers, and their attempt to re-frame the definition of genius might be nothing but smoke and mirrors.
    • 81 Metascore
    • 75 Joe Williams
    Periodically deviating from its fly-on-the-wall aesthetic, the film does a noticeably better job than the Joan Rivers movie of incorporating old footage and photos to underscore its subject’s importance.
    • 57 Metascore
    • 75 Joe Williams
    Bad Words is often very funny, thanks to Bateman’s brick-wall malevolence and screenwriter Andrew Dodge’s inventively rude dialogue.
    • 68 Metascore
    • 75 Joe Williams
    If we want a bigger picture, we’ll have to wait for God to green-light “Noah: The Next Generation.”
    • 76 Metascore
    • 75 Joe Williams
    The debut creation of director Ritesh Batra, it’s a lovely little film from a place where the little things linger.
    • 54 Metascore
    • 75 Joe Williams
    Draft Day isn’t quite a comedy, but it’s got a similar kind of flow that makes it as easily consumable as lite beer.
    • 86 Metascore
    • 75 Joe Williams
    This hand-drawn French import is fresh evidence that you don’t need computers and singing princesses to make a charming animated movie.
    • 60 Metascore
    • 75 Joe Williams
    For better or worse, the whole exercise in lurid leg-pulling goes out with a bang.
    • 55 Metascore
    • 75 Joe Williams
    The movie is best enjoyed as a minor-key operatic, not a coherent story. While Law bellows blasphemous poetry, his director orchestrates a noirish light show with a cockeyed rhythm.
    • 64 Metascore
    • 75 Joe Williams
    With stately surroundings and hissable villains, director Amma Assante imbues the finale with such dramatic resonance that Belle becomes a ringing proclamation of human dignity.
    • 56 Metascore
    • 75 Joe Williams
    As predictable as a 3-and-0 pitch down the middle, but when it’s baseball season, who wants dark clouds?
    • 51 Metascore
    • 75 Joe Williams
    You can tell by some loose threads and hurried workmanship that God’s Pocket is a knock-off, but it’s so stuffed with value, it’s an offer you can’t refuse.
    • 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 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.
    • 56 Metascore
    • 75 Joe Williams
    Although Steadman’s artwork seems like sloppy pen-and-ink caricature, there’s a method to the madness.
    • 71 Metascore
    • 75 Joe Williams
    The sharp writing and tag-team antics lift 22 Jump Street to a high level.
    • 76 Metascore
    • 75 Joe Williams
    Sorry, partisans, but there’s nothing obvious about Obvious Child.
    • 62 Metascore
    • 75 Joe Williams
    Doggedly indie but unpretentious, Begin Again is one of the best movies I’ve seen about the music industry and the ways it changes people whose paths diverge.
    • 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.
    • 43 Metascore
    • 75 Joe Williams
    Mainstream audiences will note that Hudson has never been better and that the tearjerking taps into something universal. For audiences seeking shelter from superhero carnage, Wish I Was Here is a lovely place to be.
    • 57 Metascore
    • 75 Joe Williams
    A film that aims for the stars and may have found one here on earth.
    • 53 Metascore
    • 75 Joe Williams
    Like black coffee that's flung in our face, The Killer Inside Me silences the question of whether it's good or bad. But for darn sure, it's strong.
    • 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.
    • 69 Metascore
    • 75 Joe Williams
    While director Michael Roskam lays the groundwork for a heist thriller, The Drop is fueled by character, not plot.

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