For 674 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 7.3 points higher than other critics. (0-100 point scale)

Joe Williams' Scores

  • Movies
Average review score: 66
Highest review score: 100 Django Unchained
Lowest review score: 25 Endless Love
Score distribution:
  1. Negative: 51 out of 674
674 movie reviews
    • 64 Metascore
    • 63 Joe Williams
    Like the politicians it tries to pull into the big picture, Killing Them Softly promises more than it delivers.
    • 75 Metascore
    • 63 Joe Williams
    Although this Swedish vehicle is thoughtfully engineered and has some vivid streaks of color, it could use a jump start to escape the vanilla ice.
    • 72 Metascore
    • 63 Joe Williams
    Eccentric enough to get mistaken for an uplifting fantasy, but it's Plaza who belongs in the penthouse.
    • 37 Metascore
    • 63 Joe Williams
    Compared to most teen comedies these days, Fun Size is almost touchingly tame.
    • 59 Metascore
    • 63 Joe Williams
    Surviving Progress reiterates arguments made in movies such as "An Inconvenient Truth" and "Inside Job," it marshals minds such as Jane Goodall and Stephen Hawking, and it utilizes artful imagery reminiscent of films such as "Koyaanisqatsi" and "Up the Yangtze."
    • 50 Metascore
    • 63 Joe Williams
    Elles is provocative company, but it leaves us feeling hustled.
    • 66 Metascore
    • 63 Joe Williams
    By the time the meta-movie and cute-dog subplots collide in the desert, this high-concept vehicle has run out of gas. Movies about the filmmaking process may never get old, but self-referential hit men smell like yesterday's fish story.
    • 74 Metascore
    • 63 Joe Williams
    For all its professionalism, I found it as cold as the ice rink at Rockefeller Center.
    • 70 Metascore
    • 63 Joe Williams
    With his glorified Frisbee and good-guy smile, Evans is engaging, but “The Winter Soldier” might be stronger with a little less Captain and a little more America.
    • 67 Metascore
    • 63 Joe Williams
    Ultimately a movie that could have been a little jewel is unpolished.
    • 52 Metascore
    • 63 Joe Williams
    A buddy comedy disguised as a political thriller. It’s full of malarkey, but as a campaign of shock and awe, it’s hard to resist.
    • 50 Metascore
    • 63 Joe Williams
    Hit and Run isn't a catastrophe, but it leaves loose ends and a more adventurous map by the side of the winding road.
    • 67 Metascore
    • 63 Joe Williams
    Too modest to become a worldwide phenomenon, but sensitive teens and their older kin who pine for the '90s may want to take it for a spin on the dance floor.
    • 66 Metascore
    • 63 Joe Williams
    A colorful indictment of corporate infestation, but it's missing a prescription.
    • 66 Metascore
    • 63 Joe Williams
    As the blindered Abe, relative-unknown Gelber earns a sympathetic pat on the head. But as the character is braying for attention, he's stuck in his stall, while genuine dark horse Donna Murphy carries the narrative load as the middle-aged co-worker who prances into Abe's daydreams.
    • 58 Metascore
    • 63 Joe Williams
    The rapid dialogue is dry and mannered, like a David Mamet play, there's virtually no story and Cronenberg's visual scheme is cold and claustrophobic.
    • 49 Metascore
    • 63 Joe Williams
    A high-concept comedy that peddles some slapstick laughs and life lessons but little insight.
    • 58 Metascore
    • 63 Joe Williams
    Like a taxidermied owl, Stoker is lovely to look at, but in the end it’s hard to give a hoot.
    • 62 Metascore
    • 63 Joe Williams
    Killer Joe is one of the most repugnant parodies of small-town stupidity that you will ever see, and Friedkin amplifies the shrill obscenities with blaring cartoon and kung-fu footage from his art director's fever dreams.
    • 68 Metascore
    • 63 Joe Williams
    With its forked tongue planted loosely in cheek, this haunted-house flick is enjoyably retro in both style and substance.
    • 61 Metascore
    • 63 Joe Williams
    Penn has created a colorful tour guide, but in This Must Be the Place, there's no there there.
    • 55 Metascore
    • 63 Joe Williams
    There’s a lot of comic and fantasy potential here, but much of it gets squandered.
    • 55 Metascore
    • 63 Joe Williams
    Because he's the protagonist of the movie and played by the likable Matt Damon, we keep an open mind, but Promised Land is morally ambiguous to a fault.
    • 61 Metascore
    • 63 Joe Williams
    There’s plenty of talk about sex — even from Brandy’s supportive mom (Connie Britton), who offers her lubricant — but not much nudity or consequence. In The To Do List, sex is just another dubious achievement to outgrow.
    • 55 Metascore
    • 63 Joe Williams
    Hitchcock is an amusing lark, but the clumsy way it dissects the director is for the birds.
    • 83 Metascore
    • 63 Joe Williams
    The Holocaust must never be forgotten, but like many well-intentioned documentaries, The Flat derives more power from the implicit strength of the subject than from the explicit choices of the director.
    • 65 Metascore
    • 63 Joe Williams
    The Bay is better than a shallow exercise, but crabby horror fans may have preferred that Levinson took a real plunge.
    • 78 Metascore
    • 63 Joe Williams
    Whether on stage or the screen, Much Ado About Nothing is a pleasure that passes like a midsummer night’s dream.
    • 52 Metascore
    • 63 Joe Williams
    It’s admirable, but Monuments Men just poses on a porous foundation like a statue.
    • 48 Metascore
    • 63 Joe Williams
    This true-ish story adds a romantic subplot to the prosecution of Japanese war criminals by American general Douglas MacArthur, but neither the love nor the war are completely baked.