For 818 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 4.9 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 818
818 movie reviews
    • 64 Metascore
    • 63 Joe Williams
    Presented as a stand-alone film, but without an explanation for the protagonist’s physical and emotional injuries, it’s a head-scratcher. As with Joe’s sexual compulsion, scratching can’t cure the itch.
    • 74 Metascore
    • 63 Joe Williams
    Joe
    While Green is force-feeding us this hard-boiled hokum, he doesn’t distract us with many memorable images, as he did in his earliest films.
    • 71 Metascore
    • 63 Joe Williams
    The plot is murky, the acting is melodramatic and the movie is way too long, but the target audience will salivate over the inventively choreographed set-pieces.
    • 53 Metascore
    • 63 Joe Williams
    Easy to watch but hard to pin down, like a creature with eight legs going in different directions.
    • 58 Metascore
    • 63 Joe Williams
    Fading Gigolo is like two different movies on an awkward blind date at a jazz club. While Allen charms us with a parody of “Broadway Danny Rose,” Turturro is off-key in his lounge-lizard riff on “The Piano.”
    • 49 Metascore
    • 63 Joe Williams
    The movie looks like it was made for broadcast television, the place where words and pictures go to die.
    • 52 Metascore
    • 63 Joe Williams
    For real balance, the debate needs fiercely leftist truth-tellers in tri-corner hats, calling themselves the Organic Chai Tea Party.
    • 65 Metascore
    • 63 Joe Williams
    Chartered to provide both sides of every debate, CNN has positioned itself as the middle ground for discussions of current events. But without a knowledgeable teacher (or filmmaker) to lead such discussions into new territory, they devolve into noisy bull sessions.
    • 48 Metascore
    • 63 Joe Williams
    Without the kindling of character development, Planes: Fire and Rescue is no smoldering success, but if Disney’s flight plan is to share Pixar’s airspace, it’s getting warmer.
    • 61 Metascore
    • 63 Joe Williams
    Although Besson, the director of “La Femme Nikita” and the producer of “Taken,” indulges in some operatic violence, the film is more spacey than pacey.
    • 55 Metascore
    • 63 Joe Williams
    Although the outcome is as predetermined as a prix-fixe menu, the storytelling is as smooth as goose-liver pate through a pastry nozzle.
    • 46 Metascore
    • 63 Joe Williams
    Alba is a showstopper in a fringed cowgirl outfit. But nine years wiser, we know that pretty things aren’t always worth killing for.
    • 58 Metascore
    • 63 Joe Williams
    A family flick that punches the right buttons like a trained seal.
    • 57 Metascore
    • 63 Joe Williams
    The Equalizer, loosely based on the TV series of the late ’80s, is a guilty-pleasure platform for Washington’s slow-cooked, kick-butt heroism.
    • 79 Metascore
    • 63 Joe Williams
    Although the characters don’t lapse into stereotypes, neither are they sufficiently funny or fierce to engage us in the issues they raise.
    • 56 Metascore
    • 63 Joe Williams
    After some overly talky revelations, the cornered writer/directors are forced to shatter their absurd shell game with a final act of violence that spoils the breezy, capering mood that prevailed for much of the movie.
    • 39 Metascore
    • 63 Joe Williams
    The best excuse for watching The Gunman is Penn. His first mainstream leading role in a decade is worthy of comparisons to Matt Damon in the “Bourne” movies; yet it’s also disappointingly shorn of the humor and humanity of which this great actor is capable.
    • 55 Metascore
    • 63 Joe Williams
    Home delivers like a mailman on Valentine’s Day. But when we scratch beneath the sugary surface, there’s something tart inside that’s difficult to digest.
    • 58 Metascore
    • 63 Joe Williams
    The lesson of this likable little movie is that it’s never too late to reclaim your integrity.
    • 51 Metascore
    • 63 Joe Williams
    The Woman in Gold works, largely because of the odd-couple chemistry between Mirren and Reynolds. It just goes to show that broad strokes are appealing when they’re in the right frame.
    • 70 Metascore
    • 63 Joe Williams
    Finally the film tips its hand and becomes a bet-the-house warning about climate change.
    • 50 Metascore
    • 63 Joe Williams
    Crowe is effectively restrained in his acting, but in his debut as a director, he overdoes the manipulative music and the pretty images from cinematographer Andrew Lesnie.
    • 58 Metascore
    • 63 Joe Williams
    Be forewarned: The 100-Year-Old Man is edgier than its title would lead you to believe. Bad guys are bludgeoned, blown up and even crushed by an elephant, and the two duffers take a lassez-faire attitude toward disposing of them.
    • 38 Metascore
    • 63 Joe Williams
    On that vicarious-pleasure level, the movie version delivers. Yet for anyone with a sense of irony or social justice, it’s also frustratingly soft around the edges, with no real sense of the drugs-and-violence underside of show business or the spiritual cost of failure.
    • 47 Metascore
    • 63 Joe Williams
    Max
    In its last act, Max is reminiscent of Rin Tin Tin and Lassie serials, with a frosting of freshly minted multiculturalism.
    • 57 Metascore
    • 63 Joe Williams
    Fuqua is a proficient action director, and the boxing scenes deliver plenty of whomp. But the music-saturated scenes involving the media, the law and a turncoat friend played by Curtis (“50 Cent”) Jackson are trying to appeal to fans of “Empire,” not “Raging Bull.”
    • 84 Metascore
    • 63 Joe Williams
    If what you seek from a samurai film is the friction between communal duty and personal honor, join the orderly queue to see 13 Assassins. But if what you seek is action, spend the talky first hour at a sushi bar before barging into the theater for the bloody good finale.

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