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
    • 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.
    • 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.
    • 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.
    • 58 Metascore
    • 63 Joe Williams
    Despite some gruesome images and the psychotic fervor of Rakes, it's a frustratingly slow boil.
    • 67 Metascore
    • 63 Joe Williams
    Ultimately a movie that could have been a little jewel is unpolished.
    • 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.
    • 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
    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.
    • 37 Metascore
    • 63 Joe Williams
    Compared to most teen comedies these days, Fun Size is almost touchingly tame.
    • 45 Metascore
    • 63 Joe Williams
    If your inner amphibian craves a wave, you have the right kind of brain to appreciate the elemental story and scenic backdrops. But advanced mammals might smell something fishy.
    • 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.
    • 52 Metascore
    • 63 Joe Williams
    It's not a good film, but viewed from a cockeyed angle, it's a great guilty pleasure, and director Bill Condon is in on the joke.
    • 61 Metascore
    • 63 Joe Williams
    Penn has created a colorful tour guide, but in This Must Be the Place, there's no there there.
    • 64 Metascore
    • 63 Joe Williams
    Like the politicians it tries to pull into the big picture, Killing Them Softly promises more than it delivers.
    • 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.
    • 55 Metascore
    • 63 Joe Williams
    There's an alliance of interesting stories fighting for dominance here, but instead of a clear victory, Hyde Park on Hudson is the site of a muddled truce.
    • 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.
    • 65 Metascore
    • 63 Joe Williams
    Obviously a labor love, and its very existence in a godforsaken marketplace is a minor miracle.
    • 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.
    • 44 Metascore
    • 63 Joe Williams
    It’s too cheesy and predictable to be a real miracle, but by Vegas standards, it’s a winner.
    • 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.
    • 67 Metascore
    • 63 Joe Williams
    Draining most of the blood, sweat and tears from a true story, this music-minded movie capably covers a song we’ve heard a hundred times before.
    • 57 Metascore
    • 63 Joe Williams
    Redford is an adequate director, and he keeps things moving at a moderate pace, passing up exits to more spectacular vistas or hotter issues.
    • 49 Metascore
    • 63 Joe Williams
    A high-concept comedy that peddles some slapstick laughs and life lessons but little insight.
    • 60 Metascore
    • 63 Joe Williams
    While the underrated Brosnan is effective as the cold-hearted produce mogul, the character starts as such a sourpuss that after he softens in the Sorrento lemon groves, it’s still hard to root for his inevitable hookup with Ida.
    • 65 Metascore
    • 63 Joe Williams
    Despite its brainy title, Monsters University only earns a passing grade on its looks.
    • 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.
    • 66 Metascore
    • 63 Joe Williams
    Watson is a revelation here as a brand-obsessed bad girl.
    • 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.