For 819 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 points higher than other critics. (0-100 point scale)

Joe Williams' Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 An Education
Lowest review score: 0 The Divergent Series: Insurgent
Score distribution:
  1. Negative: 67 out of 819
819 movie reviews
    • 76 Metascore
    • 75 Joe Williams
    The debut creation of director Ritesh Batra, it’s a lovely little film from a place where the little things linger.
    • 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.
    • 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.
    • 68 Metascore
    • 75 Joe Williams
    If we want a bigger picture, we’ll have to wait for God to green-light “Noah: The Next Generation.”
    • 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.
    • 61 Metascore
    • 50 Joe Williams
    The way that Muppets Most Wanted grabs for the green is criminal.
    • 88 Metascore
    • 100 Joe Williams
    After feeding on this sweet buffet, sated cinephiles will want to call the front desk to extend their stay.
    • 57 Metascore
    • 75 Joe Williams
    Bad Words is often very funny, thanks to Bateman’s brick-wall malevolence and screenwriter Andrew Dodge’s inventively rude dialogue.
    • 81 Metascore
    • 75 Joe Williams
    Periodically deviating from its fly-on-the-wall aesthetic, the film does a noticeably better job than the Joan Rivers movie of incorporating old footage and photos to underscore its subject’s importance.
    • 53 Metascore
    • 63 Joe Williams
    What the movie crucially lacks is the clockwork complications that produce a payoff.
    • 76 Metascore
    • 75 Joe Williams
    Jenison, who had never painted a thing in his life, does indeed produce a beautiful work, but we should never forget that Penn and Teller are professional bamboozlers, and their attempt to re-frame the definition of genius might be nothing but smoke and mirrors.
    • 83 Metascore
    • 63 Joe Williams
    Typically lovely to look at, with big-eyed young people espousing high ideals amid natural splendor. But outside of their bubble, a prickly history looms, and Miyazaki’s dubious attitude toward the wartime role of his hero makes the movie a mixed blessing.
    • 56 Metascore
    • 63 Joe Williams
    Non-Stop: It is what it is.
    • 47 Metascore
    • 38 Joe Williams
    In Secret is so stifled, it makes “Les Misérables” look like “Amélie.”
    • 30 Metascore
    • 25 Joe Williams
    This stinker is only good for endless laughs.
    • 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.”
    • 83 Metascore
    • 88 Joe Williams
    A marvelous piece of work.
    • 52 Metascore
    • 63 Joe Williams
    It’s admirable, but Monuments Men just poses on a porous foundation like a statue.
    • 83 Metascore
    • 88 Joe Williams
    Garcia’s performance, which won the best actress award at last year’s Berlin International Film Festival, is a marvel of self-effacing artistry.
    • 52 Metascore
    • 75 Joe Williams
    With Labor Day, director Jason Reitman turns a Nicholas Sparks scenario into an Alfred Hitchcock creep-show.
    • 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.”
    • 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
    • 38 Joe Williams
    This dead-on-arrival ’toon is some of the worst p.r. for rodents since bubonic plague hit medieval Europe.
    • 90 Metascore
    • 100 Joe Williams
    Her
    Her may be the most technologically astute movie since Stanley Kubrick’s “2001: a Space Odyssey.” And as the friendly ghost in the machine, Samantha is a more inviting companion for the great leap forward than HAL9000 could ever dream of being.
    • 58 Metascore
    • 88 Joe Williams
    For those who appreciate fiery dialogue delivered by fine actors, August: Osage County is heaven-sent.
    • 60 Metascore
    • 63 Joe Williams
    A good and necessary film, but like the man himself it’s not immune to scrutiny.
    • 75 Metascore
    • 88 Joe Williams
    The most exhilarating film of the year is also the most exhausting.
    • 37 Metascore
    • 63 Joe Williams
    Strange hybrid of science lesson and Saturday-morning cartoon.
    • 90 Metascore
    • 100 Joe Williams
    As much as anything, the wildly entertaining ’70s flashback American Hustle is a triumph of style.
    • 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.

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