William Arnold
Select another critic »
For 1,179 reviews, this critic has graded:
  • 66% higher than the average critic
  • 2% same as the average critic
  • 32% lower than the average critic
On average, this critic grades 6.8 points higher than other critics. (0-100 point scale)

William Arnold's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 A River Runs Through It
Lowest review score: 0 Mary Reilly
Score distribution:
1,179 movie reviews
    • 63 Metascore
    • 75 William Arnold
    The fact is no one has a better understanding of the corruption of ego and power, or is more qualified to encapsulate it in a defining moment of Hollywood Gothic.
    • 51 Metascore
    • 75 William Arnold
    It's a surprisingly happy film, almost completely devoid of bitterness or cynicism.
    • 58 Metascore
    • 75 William Arnold
    In spirit and nuance, this is an amazingly faithful remake.
    • 70 Metascore
    • 75 William Arnold
    With a steady eye and a warm (but never overtly sentimental) heart, it explores a territory where few movies have ventured before.
    • 62 Metascore
    • 75 William Arnold
    Its power and bite come from the contrast Seinfeld makes with Orny Adams, a younger comedian on the verge of success who is everything Seinfeld is not: hungry, vain, petty, mean-spirited, desperate for recognition.
    • 75 Metascore
    • 75 William Arnold
    It's hard to imagine an upbeat movie about homelessness, but Dark Days is just that.
    • 72 Metascore
    • 75 William Arnold
    Elevated out of the music-documentary genre to become something of an intriguing mystery -- and one with no neat solution.
    • 74 Metascore
    • 75 William Arnold
    Bounces between funny and chilling.
    • 81 Metascore
    • 75 William Arnold
    An almost documentary reality and voyeuristic appeal.
    • 42 Metascore
    • 75 William Arnold
    Finally becomes a somber, sentimental and rather profound romantic fantasy that is more true to the spirit of the Golden Age of science-fiction writing than possibly any other movie of the '90s.
    • 32 Metascore
    • 75 William Arnold
    It's getting hard not to think of De Niro as anything but a dead-pan comedian.
    • 68 Metascore
    • 75 William Arnold
    Touching, transcendent love story.
    • 60 Metascore
    • 75 William Arnold
    Director Neil Burger manages to make his technical deficiencies and clumsy interviews work for the credibility of his story rather than against it, and he builds an eerie, naturalistic suspense that's believable enough to raise an authentic goose bump or two.
    • 58 Metascore
    • 75 William Arnold
    Donovan makes us totally believe the character and his predicament, co-star Mary-Louise Parker is especially witty and winning as the film's screenwriter.
    • 56 Metascore
    • 75 William Arnold
    Clever, often hilarious, inside-Hollywood farce that makes the most of... a delightfully absurd premise.
    • 80 Metascore
    • 75 William Arnold
    The new movie year's poignant love story to beat.
    • tbd Metascore
    • 75 William Arnold
    Loaded down with gritty Glasgow atmosphere and authenticity, and works so well as an ensemble piece
    • 40 Metascore
    • 75 William Arnold
    The big downside of the film is that it always feels slightly contrived.
    • 56 Metascore
    • 75 William Arnold
    CQ
    Good-natured and fun, the Austin Powers silliness of the era shines through, and Coppola family art director Dean Tavoularis ("Apocalypse Now," "The Godfather" trilogy) makes the film -- and its kitschy film-within-the-film -- look consistently terrific.
    • 70 Metascore
    • 75 William Arnold
    Like most films in this overworked genre, it's as formulaic in its own way as a John Wayne western, and the characters and situations all have a gnawing predictability about them.
    • 63 Metascore
    • 75 William Arnold
    Ends up being empty, anti-climactic and overlong.
    • 36 Metascore
    • 75 William Arnold
    In Arcand's skilled hands, this sassy assembly comes together to be a comedy, a satire and a character study that's somehow not a bit condescending.
    • 61 Metascore
    • 75 William Arnold
    Enormously cute, but it doesn't allow us to ever completely suspend our disbelief.
    • 58 Metascore
    • 75 William Arnold
    After a rough orientation, it kicks in to be a visually enthralling, viscerally rousing, politically fascinating epic of the old school that evokes the pleasures of the great spectaculars of the Hollywood past.
    • 78 Metascore
    • 75 William Arnold
    Writer/director Raoul Peck never gives us enough intimate moments to let us feel we know the man on a personal level, and he doesn't have the narrative skill to economize the necessary exposition or steer a clear storyline.
    • 45 Metascore
    • 75 William Arnold
    A bit smarter than it seems at first glance, and ends up being a rather colorful and fascinating -- and often imaginatively Capraesque.
    • 24 Metascore
    • 75 William Arnold
    Works best of all as a vehicle for Richard Gere, who has simply never looked better or held the screen more securely.
    • 70 Metascore
    • 75 William Arnold
    A documentary that is half confessional memoir.
    • 71 Metascore
    • 75 William Arnold
    Anyone who goes in this movie expecting a rollicking comedy is in for a shock. Its scant humor is dry as the Sahara and, like all Dickens stories, its upbeat ending is never quite convincing enough to offset the horrors of the journey toward it.
    • 78 Metascore
    • 75 William Arnold
    The stars ultimately carry the day, the film cumulatively builds both an emotional power and tender wisdom that's very affecting.
    • 49 Metascore
    • 75 William Arnold
    A solid piece of storytelling that doesn't pander, skips the usual POW stereotypes and allows the film to work reasonably well as an epic of war, a survival story, a prison thriller, a murder mystery and a courtroom drama.
    • 54 Metascore
    • 75 William Arnold
    The horror and spectacle of medieval battle has never been re-created on film before with such ghastly beauty.
    • 42 Metascore
    • 75 William Arnold
    Grant's timing is flawless, his delivery is perfection, and he once again demonstrates himself to be the movies' unrivaled master of sophisticated verbal comedy.
    • 89 Metascore
    • 75 William Arnold
    I found it a surprisingly elegant entertainment: fast-paced, cogently written (by noted English author Arnold Bennett), well-cast (including a bit by a young Charles Laughton) and stylishly photographed on a gallery of stunning deco sets.
    • 45 Metascore
    • 75 William Arnold
    All told, it's a reasonably effective movie, but it might have been a lot more effective had it the guts to portray a Saddam Hussein or Osama bin Laden-like character as its villain instead of this rather unbelievable, but more politically correct, gaggle of cardboard neo-Nazis.
    • 77 Metascore
    • 75 William Arnold
    A nifty little neo-film noir that's a lot more intriguing and watchable than half the films that make it to the multiplexes.
    • 73 Metascore
    • 75 William Arnold
    Once you get the joke and grasp the aesthetic they're after, it's fun, and it almost works on the steam of its clever plot mechanics.
    • 75 Metascore
    • 75 William Arnold
    Hugh Grant is one of the true phenomena of new millennium moviemaking. In an era in which the broadest and most scatological comedy imaginable rules, he's built a career for himself as a sophisticated light comedian very much in the style of his hero, David Niven.
    • 72 Metascore
    • 75 William Arnold
    Non-cultists should enjoy this engaging and well-acted retread -- a film that develops its own charm as it goes along.
    • 49 Metascore
    • 75 William Arnold
    Really two movies working against each other. One is a feel-good movie -- But the more intriguing movie is a tragedy that studies the subtle but long-lasting impact of the teacher's single moral lapse.
    • 57 Metascore
    • 75 William Arnold
    A cheerful and stylish romantic comedy that's easy on the eyes and ears, and makes few demands on the intellect.
    • 75 Metascore
    • 75 William Arnold
    A passionate, well-made documentary that stresses how time is running out for a peaceful solution.
    • 42 Metascore
    • 75 William Arnold
    It's a superior film in every way to its predecessor "Kiss the Girls."
    • 75 Metascore
    • 75 William Arnold
    Always absorbing.
    • 54 Metascore
    • 75 William Arnold
    A teary appreciation of the value of a good teacher, the joy of music and the payoffs of discipline and hard work.
    • 73 Metascore
    • 75 William Arnold
    An utterly nihilistic, harrowingly upsetting vision of hell on earth.
    • 50 Metascore
    • 75 William Arnold
    It has its flaws, and traditionalists are likely to think it falls well short of its inspiration, but it works on its own terms, it fills the screen with Burtonesque excitement and it strikes me as one of this tepid movie summer's better offerings.
    • 64 Metascore
    • 75 William Arnold
    Somber and violent but undeniably stylish and unsettling thriller.
    • 43 Metascore
    • 75 William Arnold
    Like Lurie's previous two films, it's also simplistic and somewhat muddled.
    • 74 Metascore
    • 75 William Arnold
    In the end, it's not much fun to watch a brave artist getting his dream kicked out of him.
    • 49 Metascore
    • 75 William Arnold
    The movie itself is not completely successful, but it's consistently both engrossing and entertaining, and -- once again -- Spacey's performance creates a spell that lingers long after the lights come back on.
    • 36 Metascore
    • 75 William Arnold
    It's often surprisingly clever, dripping with respect for its model, and done with considerable wit and style.
    • 57 Metascore
    • 75 William Arnold
    An absorbing slice of a lost world that's actually very reminiscent of Kurosawa's underappreciated 1957 film, "The Lower Depths."
    • 17 Metascore
    • 75 William Arnold
    The movie works -- at least marginally.
    • 87 Metascore
    • 75 William Arnold
    McNamara finally gets to tell his side of the story -- and is somewhat humanized in the process -- but still comes off looking like a tragic character living in a state of denial.
    • 65 Metascore
    • 75 William Arnold
    Director Emanuele Crialese captures a stifling, dead-end rural culture awash in nature's beauty but seething with pent-up sexual frustration.
    • 78 Metascore
    • 75 William Arnold
    The new black-and-white print is gorgeous, the film plays well in this broader key and it sets the historical record straight.
    • 46 Metascore
    • 75 William Arnold
    His persona clicks, the physical comedy amuses, and its comic vision is tantalizing enough to make us suspect the Old Master still may have at least one masterpiece in him trying to get out.
    • 71 Metascore
    • 75 William Arnold
    With very few natural gifts, Bingenheimer managed to spend his life doing something he loved among people he worshipped. At the end of the game, very few people can make such a claim.
    • 83 Metascore
    • 75 William Arnold
    It's a chilling tale that leaves us with the fear that Latin America's exploding social problems may well be beyond solution.
    • 61 Metascore
    • 75 William Arnold
    A richly textured thriller.
    • 36 Metascore
    • 75 William Arnold
    Unashamedly positive look at the rise of the '60s counterculture.
    • 66 Metascore
    • 75 William Arnold
    Never quite builds the compulsive emotional power it needs to be an unforgettable personal drama.
    • 38 Metascore
    • 75 William Arnold
    Within the limitations of the script, both stars shine. Moore displays a wonderful flair for self-deprecating farce, and Brosnan is cumulatively endearing as her unflappable nemesis.
    • 52 Metascore
    • 75 William Arnold
    A rarity: A fun, entertaining 'G' movie.
    • 66 Metascore
    • 75 William Arnold
    The film is so explicit (endless swinging parties and porno scenes, more bouncing breasts than a Russ Meyer movie) that it finally becomes the thing it fears.
    • 43 Metascore
    • 75 William Arnold
    Together, the two of them (Pitt, Roberts) are cute as a bug.
    • 57 Metascore
    • 75 William Arnold
    The best thing the movie has going for it is Kidman's performance.
    • 38 Metascore
    • 75 William Arnold
    It's really Harris' movie, and he brings to it just the right blend of engaging affability, gruff strength of character and transcendent nobility of spirit to make it a genuinely enriching experience.
    • 68 Metascore
    • 75 William Arnold
    It's a sumptuous mood piece.
    • 56 Metascore
    • 75 William Arnold
    The most totally appealing and seemingly heartfelt performance of (DeVito's) career.
    • 65 Metascore
    • 75 William Arnold
    Rather incredibly ends up being a kind of inspirational upper.
    • 76 Metascore
    • 75 William Arnold
    DiCaprio could hardly be better. He brings this outrageous character and his demons to life with skill, sympathy and a symphony of small, telling touches.
    • 76 Metascore
    • 75 William Arnold
    The style is dated, and its neorealism seems forced and ineffective, but it's still delectable, and mostly for the things Pontecorvo hated about it: its delirious '50s color, and its stars, particularly Montand at the peak of virility.
    • 82 Metascore
    • 75 William Arnold
    There's a satisfying craftsmanship to every sequence, the direction is stylish without being show-offy, the plot mechanics are convincing, the pace is breakneck and compelling, and the film does something unique and interesting with its Hitchcockian concept.
    • 27 Metascore
    • 75 William Arnold
    A rather likable and very sweet-spirited story.
    • 68 Metascore
    • 75 William Arnold
    Cronenberg is one of the cinema's true originals, and a trip to his spooky world is always a harrowing, thought-provoking experience.
    • 54 Metascore
    • 75 William Arnold
    It's mostly quite enjoyable. Director Joe Johnson's many action sequences are lively and engaging, the location photography (mostly Morocco) is breathtaking, and both the horse and Sharif (in his biggest Hollywood role in years) are adorable.
    • 66 Metascore
    • 75 William Arnold
    A cogent, optimistic and mostly entertaining slice of ghetto life.
    • 59 Metascore
    • 75 William Arnold
    Quite a bit of fun. In fact, in its own good-natured, silly way, it works better than most of the year's other adventure-gutbusters.
    • 65 Metascore
    • 75 William Arnold
    Well-paced, well-structured nail-biter with precious little of the usual Hollywood nonsense, several virtuoso sequences, and a camera flourish that only occasionally gets silly.
    • 48 Metascore
    • 75 William Arnold
    Even though she's (Khouri) determined to give us feel-good entertainment, she's not at all afraid to let the darker moments be very dark indeed.
    • 77 Metascore
    • 75 William Arnold
    In the film's stronger moments, the artist in her definitely seems to be saying that the impulse to retreat into cultural fundamentalism carries dire risks, that much of what is old and traditional needs changing and there are some things about the detested process of globalization that are wonderfully liberating.
    • 42 Metascore
    • 75 William Arnold
    For the most part, it's imaginatively staged and consistently entertaining.
    • 53 Metascore
    • 75 William Arnold
    Effective piece of election-year propaganda.
    • 46 Metascore
    • 75 William Arnold
    Actually, the film may be too grubby and sordid and ghoulish for its own box-office good. It's certainly going to send more than a few of the New Zealand director's sensitive women fans running from the auditorium.
    • 61 Metascore
    • 75 William Arnold
    It assumes considerable knowledge of his life and times. But, with even a little of the familiarity it demands, the movie is something special.
    • 82 Metascore
    • 75 William Arnold
    A first-rate student film, but not much more.
    • 40 Metascore
    • 75 William Arnold
    Another gutsy, big-budget movie that dares to say something new and optimistic about our messed-up times. And it almost, but not quite, brings it off.
    • 60 Metascore
    • 75 William Arnold
    Very slick, very compelling and not nearly as predictable as it sounds.
    • 83 Metascore
    • 75 William Arnold
    In its defense, I can only say that, technically, it's an exhilarating piece of filmmaking; it offers a commanding comeback role for Carradine, and it serves as a summation, dead end and, perhaps, epitaph, for Tarantino's unique contribution to world cinema.
    • 59 Metascore
    • 75 William Arnold
    The script keeps to the point, the performances sparkle with originality, the direction of Jean-François Pouliot mostly has the right touch and the film ultimately generates some of the distinctively eccentric appeal of a classic Ealing Studio comedy of the 1950s.
    • 49 Metascore
    • 75 William Arnold
    Her (Ardant's) diva-in-decline is funny, lightly campy and dead-on in the way it encapsulates the sadness at the end of a selfish life lived only for art.
    • 45 Metascore
    • 75 William Arnold
    Thornton has made so many bad movies and become so notorious as a talk-show eccentric that it's easy to forget what a good film actor he can be.
    • 62 Metascore
    • 75 William Arnold
    Unfortunately, there's no great performance here. Pitt (who looks like Leonardo Di Caprio) delivers nothing close to Brando's tour de force, and all three stars may have been chosen less for their acting ability than their willingness to disrobe for the camera.
    • 48 Metascore
    • 75 William Arnold
    A winning combination. By some bizarre quirk of star chemistry, their persona complement each other, the action scenes have comic flair and the movie is mindless fun.
    • 75 Metascore
    • 75 William Arnold
    As good as the film is in so many ways, it also altogether rings a bit false and contrived.
    • 60 Metascore
    • 75 William Arnold
    The film is such a good-natured and easygoing ride that it's ultimately very hard to resist.
    • 70 Metascore
    • 75 William Arnold
    What the film does extremely well is take us deep into the crime scene, and give faces to the victims so we can experience this epic, incomprehensible and somehow prototypically American act of violence on a more personal and intimate level.
    • 79 Metascore
    • 75 William Arnold
    It's aimed squarely at a young dating audience, and is not likely to be hugely captivating for anyone out of that demographic.