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 6.2 points higher than other critics. (0-100 point scale)

Joe Williams' Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Winter's Bone
Lowest review score: 0 The Divergent Series: Insurgent
Score distribution:
  1. Negative: 67 out of 817
817 movie reviews
    • 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.
    • 75 Metascore
    • 63 Joe Williams
    While the rich people who violated a dead antagonist's wishes seem sleazy (especially when they refuse to be interviewed), transporting world-class artwork five miles to a bigger facility where more people can enjoy it hardly seems like the end of civilization as we know it.
    • 52 Metascore
    • 63 Joe Williams
    It's deliberately difficult to untangle the crossed allegiances of the people that Kelly interviews, and it's melodramatic that he tries to smuggle Ming and a surrendered assassin onto a plane bound for the United States. But dramatizing such a complex situation is a necessary evil.
    • 83 Metascore
    • 63 Joe Williams
    For better or worse, this is a straightforward performance film.
    • 52 Metascore
    • 63 Joe Williams
    With its seductive images and smart dialogue, The City of Your Final Destination has the setting and circumstances for a ripe family drama or a literary love story, yet it never awakens from its siesta.
    • 55 Metascore
    • 63 Joe Williams
    The spoof of consumerism scores some predictable points, but the tidy ending is a sell-out to the ultimate marketing machine: Hollywood.
    • 50 Metascore
    • 63 Joe Williams
    Prince of Persia is woven of recycled fibers, but by the slipping standards of summertime entertainment, it's a magic carpet ride.
    • 58 Metascore
    • 63 Joe Williams
    It's no classic, but Shrek Forever After is a pleasant reminder that every time a cash register rings, this ogre turns angelic.
    • 53 Metascore
    • 63 Joe Williams
    A lot of care went into crafting the handsome production but not enough into making the handsome hero come alive.
    • 63 Metascore
    • 63 Joe Williams
    As a diversion, Babies is like a wind-up toy that will tickle anyone with a pulse. As a documentary, it's like a cache of home videos that will frustrate anyone with an inquiring mind.
    • 58 Metascore
    • 63 Joe Williams
    Maybe in his native language, Dujardin is no funnier than Steve Martin's "Pink Panther." But with subtitles, his deadpan delivery is hard to resist.
    • 51 Metascore
    • 63 Joe Williams
    As a testament to traditions that are usually kept hidden from Hollywood, Holy Rollers is a mitzvah. But as a thriller, it's bubkes.
    • 65 Metascore
    • 63 Joe Williams
    It's not quite infectious, but some of the high notes manage to drown out some of the guttural lows.
    • 76 Metascore
    • 63 Joe Williams
    The film confirms it's hard to do brain surgery on a battlefield. But it doesn't take a brain surgeon to think it could go deeper.
    • 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.
    • 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.
    • 79 Metascore
    • 63 Joe Williams
    I Am Love is easy to savor but tough to swallow.
    • 65 Metascore
    • 63 Joe Williams
    Salt goes down easy, but it's lacking both nourishment and flavor.
    • 56 Metascore
    • 63 Joe Williams
    It's a little black dress of a movie, an elegant hint of something sensual that is ultimately denied to us.
    • 30 Metascore
    • 63 Joe Williams
    Between the carefully trained animals and their computer-animated mouths, the movie doesn't have much room for realism; but the 3-D effects are surprisingly effective, and this playful pic earns a pat on the head.
    • 66 Metascore
    • 63 Joe Williams
    A passable popcorn movie, but fans of the first film who expect lightning to strike twice are liable to get burned.
    • 65 Metascore
    • 63 Joe Williams
    This homey construct is warm, exactingly crafted and painted with pop-country tones, but it's lacking a deep foundation where the issues that it raises can resonate. For a movie like that, we may have to depend on the Danes.
    • 52 Metascore
    • 63 Joe Williams
    There aren't enough surprises to justify the title, but The Switch produces sufficient light for a late-summer diversion.
    • 55 Metascore
    • 63 Joe Williams
    The Hefner we meet here is the likable rogue we already know.
    • 69 Metascore
    • 63 Joe Williams
    There are audiences for movies that amuse us, and arouse us, and scare us, but the career of Todd Solondz ("Storytelling") raises the question: Is there an audience for movies that make us feel icky?

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