For 737 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 Master
Lowest review score: 25 New Year's Eve
Score distribution:
  1. Negative: 58 out of 737
737 movie reviews
    • 56 Metascore
    • 50 Joe Williams
    What it lacks is the human element. Charlie is more of a rat than a rascal, and instead of working hard to build and operate his robots, he's literally going through the motions.
    • 58 Metascore
    • 50 Joe Williams
    Footloose poses as a bold update, but it's shockingly out of step with the times.
    • 53 Metascore
    • 50 Joe Williams
    The Big Year puts the focus on people who aren't inherently interesting - or funny.
    • 59 Metascore
    • 50 Joe Williams
    Back when it was planned as an African-American "Ocean's Eleven," this project might have been edgy, but the script has been whitewashed into a generic caper comedy with pretensions of timeliness.
    • 59 Metascore
    • 50 Joe Williams
    J. Edgar is the kind of prestige production that apologists will call polished, but even the technical attributes are tinny. In the gay-geezers scenes, Hammer wears terrible old-age makeup, and the entire film is bathed in sepia tones as weak as its convictions.
    • 46 Metascore
    • 50 Joe Williams
    Extremely Loud and Incredibly Close is supposed to promote healing, but as they say in New York: close, but no cigar.
    • 40 Metascore
    • 50 Joe Williams
    As in the mindless Man on a Ledge, the hero is never really in danger, we're the ones who are trapped.
    • 31 Metascore
    • 50 Joe Williams
    Even by the standards of light entertainment, This Means War is meaningless.
    • 37 Metascore
    • 50 Joe Williams
    It's hard to hate a movie that escorts us to such lovely locales, but instead of marking the territory as her own, Madonna has directed a potentially provocative story like a virgin.
    • 37 Metascore
    • 50 Joe Williams
    Considerably better looking than its predecessor, but it's spewing the same old gibberish.
    • 67 Metascore
    • 50 Joe Williams
    Damsels in Distress is shockingly tone-deaf. Stillman is still capable of a few amusing quips, but his storytelling is sophomoric.
    • 41 Metascore
    • 50 Joe Williams
    Proficient director Peter Berg ("Hancock") keeps the noise so deafening we can't think about how preposterous it all is.
    • 53 Metascore
    • 50 Joe Williams
    As a sex-education comedy, Hysteria is flaccid, forced and unfunny.
    • 47 Metascore
    • 50 Joe Williams
    The only edge in the movie is represented by Russell Brand, who actually lived the lifestyle, but he's muzzled by a bad Liverpool accent and a gay subplot that's as insincere as the swaggering anthems by fatuous hacks like Foreigner, Starship and Journey.
    • 49 Metascore
    • 50 Joe Williams
    Pine and the always-watchable Banks make the best of a bad screenplay, but People Like Us gives us nothing that we can relate to.
    • 54 Metascore
    • 50 Joe Williams
    The film is constructed from four flimsy vignettes that are artlessly overlapped.
    • 57 Metascore
    • 50 Joe Williams
    Snark is not art. In the evolutionary spectrum of cinema, Natural Selection is like the duck-billed platypus, pretending to be warm-blooded but more than a little fowl.
    • 36 Metascore
    • 50 Joe Williams
    If this movie wanders into your neighborhood, the only watch that will hold your attention is the timepiece on your wrist.
    • 65 Metascore
    • 50 Joe Williams
    People over 60 are as sexual and complicated as their grandchildren, and there ought to be more movies about them, but only an audience as constipated as these characters could mistake this lukewarm stream of pablum for a hard nugget of truth.
    • 66 Metascore
    • 50 Joe Williams
    The delivery pouch for Premium Rush promises a white-hot thriller from the bike-messenger subculture. But what's inside the package seems like a lukewarm action-comedy from the pile of scripts that Matthew Broderick rejected after "Ferris Bueller's Day Off."
    • 37 Metascore
    • 50 Joe Williams
    The fatal flaw of this screenwriting term paper is that Cooper's character is a boring jerk we're supposed to regard as a nice guy who made an honest mistake.
    • 58 Metascore
    • 50 Joe Williams
    Everything about Trouble With the Curve is as streamlined and hollow as a Wiffle Ball bat.
    • 42 Metascore
    • 50 Joe Williams
    While the cast is filled with award winners, writer-director Daniel Barnz is a dunce who can't construct an argument without employing flimsy logic and cardboard characters.
    • 45 Metascore
    • 50 Joe Williams
    A movie with no surprises at all, a streamlined chase flick that is running on the fumes from recycled fuel.
    • 46 Metascore
    • 50 Joe Williams
    While it claims to be exported from New Jersey, The Oranges is peddling an alien motto: When life hands you lemons, fuhgeddaboudit.
    • 62 Metascore
    • 50 Joe Williams
    It's as if there's a missing reel of film that could tie the story together and give it the emotional impact it takes for granted.
    • 40 Metascore
    • 50 Joe Williams
    War of the Buttons is handsomely crafted and it's touting tolerance, but as long as we open the gates to the Trojan horse of historical simplification, there's a danger that Hollywood could attack us with "The Goonies Go to the Gulag." Be vigilant!
    • 86 Metascore
    • 50 Joe Williams
    For his complex portrayal, Day-Lewis is likely to have roses thrown at his feet, but for the dreadful film in which he's enslaved, emancipated onlookers will reach for the grapes of wrath.
    • 84 Metascore
    • 50 Joe Williams
    There are a few beguiling moments in Holy Motors, particularly a martial-arts sequence and an erotic dance while Mr. Oscar is dressed in a motion-capture body suit, but the road between those moments is so strewn with stalled ideas that audiences who care about character and plot are liable to take the exit to a movie that makes sense.
    • 63 Metascore
    • 50 Joe Williams
    Fans of the franchise will greet Les Misérables as a feast for the senses, but the rest of us are left with crumbs.
    • 48 Metascore
    • 50 Joe Williams
    This is a brutal and stupid movie.
    • 28 Metascore
    • 50 Joe Williams
    To paraphrase a classic of Reagan-era cinema, A Good Day to Die Hard is a bad day to stop sniffing glue.
    • 52 Metascore
    • 50 Joe Williams
    The derivative script and skimpy effects don’t convey either the power or the problems of being a young witch.
    • 34 Metascore
    • 50 Joe Williams
    Hallstrom (“Chocolat”) makes the mishmash palatable, and romance mainstay Duhamel provides some sweet-and-salty charm, but there’s not much they can do with Sparks’ canned dialogue and Hough’s undercooked acting.
    • 51 Metascore
    • 50 Joe Williams
    The verdict on Snitch is that Johnson has attempted a career detour on a street marked Do Not Enter.
    • 44 Metascore
    • 50 Joe Williams
    The more suitably antic Robert Downey Jr. and Johnny Depp were considered for the part before Franco wandered into the picture with his stoner grin.
    • 41 Metascore
    • 50 Joe Williams
    As long as Hollywood keeps hitting us over the head with empty spectacles like G.I. Joe: Retaliation, regular Joes will be too numb to fight back.
    • 61 Metascore
    • 50 Joe Williams
    The wrinkles between reality and illusion soon become irritating.
    • 54 Metascore
    • 50 Joe Williams
    The questions raised by Oblivion aren’t especially deep, but the movie does answer a puzzler that has troubled humankind for generations: Can Tom Cruise build a concept so big that he himself can’t lift it?
    • 62 Metascore
    • 50 Joe Williams
    Judged solely in comparison to its corporate cousins, Iron Man 3 is a defective model. It’s lightweight but slow, padded with cheap jokes to disguise how hollow it is.
    • 40 Metascore
    • 50 Joe Williams
    The clichéd script doesn't develop the secondary characters or the critical theme of the mutants' alienation.
    • 60 Metascore
    • 50 Joe Williams
    In getting so many of the Midwestern details wrong, worldly director Bahrani (“Chop Shop”) teaches an inadvertent lesson to aspiring filmmakers who want to follow his footsteps to the festival circuit: Grow where you’re planted.
    • 61 Metascore
    • 50 Joe Williams
    How you feel about Fast & Furious 6 is a matter of perspective. While a middle-age egghead might note that a series that started out as a harmless cars-and-girls fantasy has devolved into a full-blown assault on human intelligence.
    • 42 Metascore
    • 50 Joe Williams
    Congratulations, visitor. You have been randomly selected to beta test an entertainment-software product called “The Internship 2.0.”
    • 37 Metascore
    • 50 Joe Williams
    Except for the dynamite finale, The Long Ranger feels like a long, slow ride to the dump, to the dump, to the dump, dump, dump.
    • 47 Metascore
    • 50 Joe Williams
    Red 2 is not just a bad movie, it’s bad karma. And the target audience of adult moviegoers who respect the names in its once-vital cast have a bull’s-eye on their collective cranium.
    • 60 Metascore
    • 50 Joe Williams
    The mediocre mushy stuff isn’t alleviated by enough action.
    • 55 Metascore
    • 50 Joe Williams
    Savvy filmgoers will know they are getting a stale product as soon as they see the wrapper: one of those vintage muscle cars that screams “stakeout.”
    • 44 Metascore
    • 50 Joe Williams
    We're the Millers is nothing but stems and seeds, with less buzz than a bag of oregano.
    • 41 Metascore
    • 50 Joe Williams
    To stand out in a crowded marketplace, a sequel can’t just kick ass — it has to blow minds.
    • 50 Metascore
    • 50 Joe Williams
    Closed Circuit is not a tense thriller about the new era of surveillance — it's a tepid thriller about the old notion that no leader can be trusted.
    • 49 Metascore
    • 50 Joe Williams
    Spurlock teases the baby sitter contingent with a brief scene where a scientist discusses the neuro-chemical appeal of pop music, but thereafter the film is aimed squarely at face-value fans of the Pre-Fab Five.
    • 51 Metascore
    • 50 Joe Williams
    The most grievous sins here are sins of omission.
    • 41 Metascore
    • 50 Joe Williams
    Shakespeare’s play evokes the poetry of undying love, but this Romeo and Juliet is prosaic.
    • 51 Metascore
    • 50 Joe Williams
    Ender’s Game is a blandly sanitized spectacle.
    • 44 Metascore
    • 50 Joe Williams
    It requires a mild suspension of disbelief to accept that slacker David would suddenly intervene in so many lives, pretending to be a good Samaritan.
    • 63 Metascore
    • 50 Joe Williams
    Out of the Furnace is hot air.
    • 66 Metascore
    • 50 Joe Williams
    We were promised desolation, but “The Hobbit” just keeps dragon on.
    • 61 Metascore
    • 50 Joe Williams
    OK, the musical ode to Doby the shark elicits a grin, but the low-percentage script is loaded with buckshot, not harpoons, and Anchorman 2 ends up sinking.
    • 41 Metascore
    • 50 Joe Williams
    Kevin Hart hits the vicinity of humor with a few of his drive-by wisecracks, but the movie itself has nothing under the hood.
    • 37 Metascore
    • 50 Joe Williams
    Although it’s superficially grungy, this true story isn’t much more substantive than something that star Vanessa Hudgens might have made for the Disney Channel and considerably less shocking than her career gambit in “Spring Breakers.”
    • 52 Metascore
    • 50 Joe Williams
    A faithful remake of RoboCop would be timely. Instead, the producers of this new version have retreated back to the lab, concocting a creaky hybrid of “Frankenstein” and “Call of Duty.”
    • 61 Metascore
    • 50 Joe Williams
    The way that Muppets Most Wanted grabs for the green is criminal.
    • 41 Metascore
    • 50 Joe Williams
    This is an extremely gory flick, with autopsy scenes to complement Schwarzenegger’s usual shoot-first sensibilities. After 30 years, it’s pointless to complain about the collateral damage in his movies, but here Schwarzenegger is taking vigilante justice to dark new levels that can only be reached via plot holes big enough for a Hummer.
    • 47 Metascore
    • 50 Joe Williams
    Written, directed and acted by Hollywood pros, Heaven Is For Real is a polished little movie with a hopeful message, but when it literalizes the divine mysteries, it opens the door to a Doubting Thomas.
    • 42 Metascore
    • 50 Joe Williams
    An ambitious movie, but ultimately there’s too much “artificial” and not enough “intelligence.”
    • 59 Metascore
    • 50 Joe Williams
    Colin Firth is an Academy Award winner, so perhaps his lack of chemistry with fellow honoree Nicole Kidman is a carefully laid clue that his middle-aged newlywed Eric Lomax is damaged goods. Yet to the drama’s detriment, Lomax is about as poisonous as a week-old crumpet.
    • 25 Metascore
    • 50 Joe Williams
    Yet if you’re old enough to read this and you find yourself at a screening, try thinking about the munchkins who worked so hard on the psychedelic scenery.
    • 62 Metascore
    • 50 Joe Williams
    The latest Hollywood version of the Godzilla story is neither fun nor fearsome. It’s an empty spectacle in which the humans are as meaningless as the monster.
    • 31 Metascore
    • 50 Joe Williams
    As usual for the comedies he produces, Sandler keeps pooping in the sandbox, and he expects the audience to give him a cookie for it. It’s a shame that he forces Barrymore to get soiled too.
    • 44 Metascore
    • 50 Joe Williams
    ’Round these parts, when a movie promises a million laughs but only delivers a dozen chuckles, that’s a hanging offense.
    • 71 Metascore
    • 50 Joe Williams
    By design it’s monotonous, and with so much clunky hardware, Liman can’t generate the same pace he produced in the “Bourne” movies. Edge of Tomorrow has neither an edge nor a vision of tomorrow that matters today.
    • 32 Metascore
    • 50 Joe Williams
    Because the affable Wahlberg is making the sales pitch, you could kid yourself that this is just a high-tech vacuum cleaner, built to siphon loose change like popcorn. But our failure to understand the terrifying significance of the “Transformers” series is why we're in the age of extinction.
    • 68 Metascore
    • 50 Joe Williams
    Land Ho! is a tepid little movie that goes almost nowhere, and if I had to sit in that rental car for one more boob joke, I’d rather jump into a volcano.
    • 46 Metascore
    • 50 Joe Williams
    The settings and supporting roles suggest that If I Stay started out as someone’s passion project, but the final product only requires its star to sleepwalk through buckets of schlock.
    • 38 Metascore
    • 50 Joe Williams
    Although The November Man shows us some attractive people in motion, the cumulative effect leaves us neither shaken nor stirred.
    • 44 Metascore
    • 50 Joe Williams
    Although the ratio of comedy to drama becomes increasingly weighted toward tearjerking, few of the emotional moments are realistic or effective.
    • 37 Metascore
    • 50 Joe Williams
    There’s a good movie to be made about the alienating effects of modern technology. In 2013, a little-seen indie called “Disconnect,” starring Jason Bateman, came closer than this well-intentioned failure, which has virtually no heart, humor, sense of place or central point of view. In trying to be a big, important movie, Men, Women & Children is about none of the above.
    • 39 Metascore
    • 38 Joe Williams
    Offers about as much flava as a Dr. Pepper commercial and about as much drama as a “Sesame Street” rerun.
    • 34 Metascore
    • 38 Joe Williams
    This amateurish action flick is so lacking in personality or punch, it ought to be titled "V for Video Store Discount Bin."
    • 19 Metascore
    • 38 Joe Williams
    Old Dogs is so oafish, when it tosses us a biscuit, it feels like we've been smacked with a newspaper.
    • 55 Metascore
    • 38 Joe Williams
    Here most of the punishment is inflicted on the audience, which gets nailed to a cross of boredom.
    • 39 Metascore
    • 38 Joe Williams
    In the new Clash of the Titans, the effects are computerized, the hero is questionable and, instead of an owl, we get a turkey.
    • 33 Metascore
    • 38 Joe Williams
    Sadly, The Last Song is badly out of tune with real filmmaking.
    • 44 Metascore
    • 38 Joe Williams
    Whether you're betting on action or laughs, this is a lose-lose scenario.
    • 23 Metascore
    • 38 Joe Williams
    The message that needs to be posted at the theater door is "No trespassing."
    • 43 Metascore
    • 38 Joe Williams
    A bland family-feud potboiler with no sign of the cook.
    • 30 Metascore
    • 38 Joe Williams
    Nobody escapes unscathed, except, of course, for Sandler, who co-wrote the infantile screenplay.
    • 20 Metascore
    • 38 Joe Williams
    A toxic potion that will put children to sleep and kill his (M. Night Shyamalan) career.
    • 37 Metascore
    • 38 Joe Williams
    It's more like a shelved episode of "Touched by An Angel." The sappy script is a disservice to the naturally effervescent Efron, whose character is so mopey he makes Robert Pattinson seem like a song-and-dance man.
    • 53 Metascore
    • 38 Joe Williams
    An utter shipwreck, a would-be adventure with meager rations of magic and a listless crew.
    • 27 Metascore
    • 38 Joe Williams
    If instead of story and characters, your movie wish list includes projectile vomiting and erection gags, this lump of coal has your name on it.
    • 36 Metascore
    • 38 Joe Williams
    The cheap, indifferent, teen-alien thriller I Am Number Four delivers none of the spectacle of a competent sci-fi film, none of the emotion of an effective teen romance and none of the giggles of a kitsch fiasco.
    • 45 Metascore
    • 38 Joe Williams
    Like the middle-aged dads in this flaccid fiasco, Hall Pass is a decade behind the curve of what's happening.
    • 29 Metascore
    • 38 Joe Williams
    Such a sorrowful attempt to resurrect the marketing magic of "Twilight" that it ought to be titled "Career Eclipse."
    • 41 Metascore
    • 38 Joe Williams
    Hop
    It's supposed to be sweet, but Hop is a headache waiting to happen.
    • 27 Metascore
    • 38 Joe Williams
    Given the creator and the cast, "Morgans" is as drearily predictable as a plague of locusts.
    • 45 Metascore
    • 38 Joe Williams
    On Stranger Tides has the fishy smell of something washed ashore and sold as new. But this shipwreck isn't worth a wooden doubloon.
    • 39 Metascore
    • 38 Joe Williams
    The spectacular collapse of Green Lantern is bound to be blamed on Reynolds, but the villainy has its origins in an injustice league of TV-trained screenwriters and tin-hearted studio suits.
    • 46 Metascore
    • 38 Joe Williams
    For anyone expecting the second coming of Clouseau, Johnny English Reborn is a karmic catastrophe.
    • 50 Metascore
    • 38 Joe Williams
    The best thing you could say about Happy Feet Two is that it doesn't have any product placements or potty jokes. Other than that, this charmless Antarctic cartoon is what it looks like when hell freezes over.
    • 48 Metascore
    • 38 Joe Williams
    As in the first "Sherlock Holmes" movie, there are plenty of pratfalls and bare-knuckle brawls but no sleuthing for us to share.
    • 41 Metascore
    • 38 Joe Williams
    Anyone old enough to have read Jules Verne or seen the way his work was successfully adapted in the past will suffer worse than the kids in the audience who just came to laugh.
    • 31 Metascore
    • 38 Joe Williams
    In matters of personal taste, there is no right or wrong, so if erasing brain cells is your idea of a good time, That's My Boy could be your cup of turpentine.
    • 49 Metascore
    • 38 Joe Williams
    With this unfunny fourth installment, the "Ice Age" franchise has skidded so far into kiddie land that adults who tread there risk extinction.
    • 20 Metascore
    • 38 Joe Williams
    Where the original play "La Ronde" was a social satire about the transmission of venereal disease, 30 Beats is a sickly stepchild.
    • 48 Metascore
    • 38 Joe Williams
    Kids are too smart to fall for it, and any grown-up who thinks that The Odd Life of Timothy Green is funny or heartwarming has a head made out of cabbage.
    • 40 Metascore
    • 38 Joe Williams
    Loud, incoherent and unfunny, Here Comes the Boom is the sound of American culture imploding.
    • 31 Metascore
    • 38 Joe Williams
    This world is divided between the makers and the takers, and after just a few minutes of Red Dawn, you'll realize there's not much more you can take.
    • 54 Metascore
    • 38 Joe Williams
    While the cast includes Luis Guzman (as a buffoonish deputy) and Johnny Knoxville (as a local gun nut), there's no sense that these are real people in a real town, and Schwarzenegger's Sheriff Owens has the weakest backstory of all.
    • 41 Metascore
    • 38 Joe Williams
    Dare we say it? Even the acting is atrocious, with pop-eyed Pacino chewing the scenery like a geezer gumming his oatmeal.
    • 35 Metascore
    • 38 Joe Williams
    Suffering through this felonious farce could only inspire a prison riot.
    • 28 Metascore
    • 38 Joe Williams
    It’s nearly tragic to see America’s Greatest Living Actor on the guest list for The Big Wedding, the latest limp comedy about seniors behaving badly.
    • 52 Metascore
    • 38 Joe Williams
    Comedies about privileged princesses and unsuitable suitors come in all colors, but Peeples is only palatable on a double bill with pink antacid.
    • 30 Metascore
    • 38 Joe Williams
    The good news is that Ed Helms doesn’t wake up in a Tijuana brothel with an amputated leg and a donkey in the room. The bad news is that you’ll wish he had.
    • 55 Metascore
    • 38 Joe Williams
    A soulless, overblown bore.
    • 74 Metascore
    • 38 Joe Williams
    It’s preposterous schlock masquerading as art.
    • 48 Metascore
    • 38 Joe Williams
    In trying to lift this lame schtick, De Niro, Douglas, Freeman and Kline are stand-up guys, but Last Vegas is a case of erectile dysfunction.
    • 37 Metascore
    • 38 Joe Williams
    This dead-on-arrival ’toon is some of the worst p.r. for rodents since bubonic plague hit medieval Europe.
    • 47 Metascore
    • 38 Joe Williams
    In Secret is so stifled, it makes “Les Misérables” look like “Amélie.”
    • 69 Metascore
    • 38 Joe Williams
    This movie is so tone-deaf it would only make sense in Vincent van Gogh’s missing ear.
    • 39 Metascore
    • 38 Joe Williams
    McCarthy and first-time director Falcone must have assumed that tossing a drunk and a dunce into a Cadillac would negate the need for a motive or even a script.
    • 38 Metascore
    • 38 Joe Williams
    If cranking out this kind of mediocre, head-scratching blarney is the only option available to Hollywood veterans like Reiner, we have some friendly advice: Open a haberdashery.
    • 57 Metascore
    • 38 Joe Williams
    So stupid and hateful, it needs to have a stake driven through its heart before it can spawn a franchise.
    • 37 Metascore
    • 38 Joe Williams
    Annabelle is so lazily coat-tailing on Roman Polanski, they should have called it “Rosemary’s Barbie.”
    • 34 Metascore
    • 25 Joe Williams
    A vigilante/torture-porn potpourri, is particularly toxic because it's scented with phony importance.
    • 30 Metascore
    • 25 Joe Williams
    "Beverly Hills Chihuahua," we owe you an apology. Among talking-dog movies, Marmaduke is the runt of the litter.
    • 49 Metascore
    • 25 Joe Williams
    Even by the sloppy, soulless standards of hit man movies, The Mechanic is a mess.
    • 45 Metascore
    • 25 Joe Williams
    For the rest of his life, Spencer Susser can brag to the other ditch diggers that he persuaded two of the best young actors in Hollywood to star in one of the worst movies ever made.
    • 22 Metascore
    • 25 Joe Williams
    The sanitized setting and sappy script are so littered with cardboard characters and crass product placements that you'll mourn for the muggers and porno theaters that De Niro cursed in "Taxi Driver."
    • 30 Metascore
    • 25 Joe Williams
    Formulaic serial-killer crapola.
    • 33 Metascore
    • 25 Joe Williams
    Surprise — this bad dream is for real.
    • 41 Metascore
    • 25 Joe Williams
    When a celebrity chef like Rodriguez is just going through the motions, we can smell that the grindhouse fad is way past its expiration date. It's time to put a fork in it.
    • 30 Metascore
    • 25 Joe Williams
    This stinker is only good for endless laughs.
    • 54 Metascore
    • 25 Joe Williams
    The worst thing about this multifaceted failure is the two-time Oscar winner behind the camera. Where there ought to be a director, there’s nothing but an empty chair.
    • 29 Metascore
    • 25 Joe Williams
    Sparks would be delighted if this movie were compared to his other story about reunited lovers, but compared to “The Notebook,” The Best of Me is the coffee-stained outline of a sales pitch for sleeping pills.