For 742 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 The Dark Knight Rises
Lowest review score: 25 New Year's Eve
Score distribution:
  1. Negative: 59 out of 742
742 movie reviews
    • 64 Metascore
    • 63 Joe Williams
    The Road has the signposts of an important film, but it lacks the diversions of an inviting trip.
    • 63 Metascore
    • 63 Joe Williams
    This quasi-horror film has the great director's usual craftsmanship and a stellar cast, but ultimately it's an infuriating trick that makes its most provocative ideas disappear.
    • 57 Metascore
    • 63 Joe Williams
    The result is only half as hip as hoped. Yes, this Holmes is leaner and meaner, and Watson (Jude Law) is nearly his equal. But there’s still something fussy about the result, as if bobbies had broken up the party at 11:59.
    • 54 Metascore
    • 63 Joe Williams
    This movie may be sickly sweet, but it's harmless; and as a handcrafted antidote to a toxic toy story like "G.I.Joe," Paper Heart has healing properties.
    • 74 Metascore
    • 63 Joe Williams
    While it may not be a smorgasbord of red herrings and red meat, Flame and Citron is often chilling.
    • 66 Metascore
    • 63 Joe Williams
    Two incompatible movies duke it out in Bandslam. Although it's the wimpy teen musical that prevails, it's the misfit coming-of-age story that leaves an impression.
    • 70 Metascore
    • 63 Joe Williams
    There's little that's new in the retelling, except mellowed musings on Environmentalism 2.0.
    • 61 Metascore
    • 63 Joe Williams
    Moore's voice is weak and fuzzy, directed at a choir that should already know the words by heart.
    • 65 Metascore
    • 63 Joe Williams
    The thread connecting the ambitious girl to the acclaimed woman is enough to make us wish for a sequel titled "Chanel No. 2."
    • 58 Metascore
    • 63 Joe Williams
    This topsy-turvy flick is fitfully funny, but more often it's just odd, like the first draft of a "Twilight Zone" episode that's missing its moral.
    • 61 Metascore
    • 63 Joe Williams
    Extract has some flavor, but the comedic kick is diluted by flat characters and a thin story.
    • 53 Metascore
    • 63 Joe Williams
    Michael as a character is defined almost solely by his helplessness and gratitude. He's as lovable as a lost puppy, but a more perceptive movie than The Blind Side would have let us see him from another angle.
    • 43 Metascore
    • 63 Joe Williams
    Reilly is very funny as the sarcastic mentor, and director Paul Weitz strikes a loopy tone in the scenes at the freak encampment.
    • 57 Metascore
    • 63 Joe Williams
    It's funny but (sorry, ladies) unrealistic that Jake continuously sneaks away from his young wife to canoodle with Jane. Baldwin is a blast, but the role requires him to indulge in indignities such as a naked webcam conversation.
    • 69 Metascore
    • 63 Joe Williams
    What's most conspicuously missing from this ensemble is some input from the advertisers who subsidize Wintour's tyranny, and the readers who are seduced into buying her beautiful four-pound paperweights.
    • 59 Metascore
    • 63 Joe Williams
    Unfortunately, producers (including James) went for the easy layup, showing so much on-court action instead of trying to hustle for insights about sports and society.
    • 57 Metascore
    • 63 Joe Williams
    Weaving between freshness and formula, The Boys Are Back earns a gentle pat on the head.
    • 64 Metascore
    • 63 Joe Williams
    Raises more questions than it can answer in its travelogue format. It's because the premise is so intriguing and the drama is so compelling that the result is so confounding.
    • 57 Metascore
    • 63 Joe Williams
    Even as Bard, filmmaker Milos Forman and Ferrara himself bemoan the changes, the lobby is filled with fine art -- and guests who aren't likely to harm you.
    • 49 Metascore
    • 63 Joe Williams
    Neither a comprehensive guide nor consistently good, but because the theme is romance, most of these small bites of the Big Apple are easy to digest.
    • 58 Metascore
    • 63 Joe Williams
    It's a calculated crowd-pleaser that skims over the surface of the era like a cruise-ship production of "American Graffiti."
    • 65 Metascore
    • 63 Joe Williams
    Johnny Depp, Jude Law and Colin Farrell do yeoman work on behalf of their late friend and, as usual, Gilliam's film is a feast for the eyes. But all the king's men can't corral the horses running roughshod over basics like plot and character.
    • 36 Metascore
    • 63 Joe Williams
    It's a pleasure to watch Ryan resurrect her trademark persona, a mix of perkiness and pique, as she flounces around the room. But it's shaded with a middle-age desperation that's half real and half chick-flick shtick.
    • 73 Metascore
    • 63 Joe Williams
    The difference between McKay and Efron is like the difference between a Broadway spectacular and a high school musical.
    • 47 Metascore
    • 63 Joe Williams
    What's finest about Everybody's Fine is to watch a good fella groping hopefully toward old age.
    • 49 Metascore
    • 63 Joe Williams
    As much Fosse as Fellini. It’s a shadow of a shadow, refracted through a fun-house mirror. For all the noise and color, it feels like an exercise and not a natural expression.
    • 68 Metascore
    • 63 Joe Williams
    Although this stylish and ominously paced vehicle starts with a full itinerary, it never makes a vital connection.
    • 67 Metascore
    • 63 Joe Williams
    Director Philipp Stolzl worked in the same dangerous conditions as the original climbers, and we can feel the chill and peril in our bones. It's a shame, then, that the screenwriter, unlike the camera crew and the characters, was afflicted with such timidity.
    • 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.
    • 47 Metascore
    • 63 Joe Williams
    The CGI effects are a familiar sort and so is the heroic-quest motif. The principal virtue in this modest entertainment is that the young characters act like real teenagers.