William Arnold
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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 6.7 points higher than other critics. (0-100 point scale)

William Arnold's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 After the Wedding
Lowest review score: 0 Me, Myself & Irene
Score distribution:
1,179 movie reviews
    • 69 Metascore
    • 91 William Arnold
    It's a richly textured, leisurely paced, visually impressionistic epic of the American past that fairly hypnotizes the viewer with its tapestry of sights, sounds and colors.
    • 90 Metascore
    • 91 William Arnold
    A respectful, accomplished, non-exploitative piece of historical filmmaking and -- for audiences -- a gripping white-knuckle ride all the way.
    • 72 Metascore
    • 91 William Arnold
    The film is magnificently mounted, it moves like a speeding bullet and it's so respectful of Superman traditions that even the pickiest of die-hard fans should love it. After a lapse of two decades, it revitalizes the franchise and makes it seem fresh and alive.
    • 75 Metascore
    • 91 William Arnold
    It's as absorbing as a train wreck, and its brand of heavy drama is so rare in movies these days that everything about it seems amazingly fresh.
    • 86 Metascore
    • 91 William Arnold
    Whatever it is, the film is the first major release of the fall worth talking about: a fast-paced, visually slick, psychologically fascinating Boston-set cops-and-crooks saga.
    • 79 Metascore
    • 91 William Arnold
    The movie offers one authentically terrific performance: Beach as Hayes. He's so painfully sympathetic in the role that he absolutely breaks your heart, and he looks like the front-runner in the best-supporting actor Oscar race.
    • 81 Metascore
    • 91 William Arnold
    Flat-out one of the best Bonds ever.
    • 54 Metascore
    • 91 William Arnold
    For all its unevenness, Bobby is a powerful, poignant movie and its ending -- played over a long excerpt of one of RFK's most compassionate speeches, voiced with none of the cliches of political rhetoric -- was, for me, the movie year's single most devastating sequence.
    • 68 Metascore
    • 91 William Arnold
    For all its excesses, it's an absorbing, disturbing, savagely beautiful "trip" movie, and an extraordinary -- perhaps even outrageous -- personal vision of the one A-list filmmaker who truly deserves the adjective "maverick."
    • 76 Metascore
    • 91 William Arnold
    Though it seems long and its pace occasionally lags, it certainly struck me as a well-mounted, gloriously eye-filling and often exhilarating entertainment that brings back some of the delicious excitement of the great movie musicals.
    • 89 Metascore
    • 91 William Arnold
    Ironically, the challenge of directing a Japanese-language film with a non-English-speaking cast seems to have brought out the very best in Eastwood. His vision is alternately intimate and sweeping, his touch never seemed more light and sure, and several of his scenes are so delicate, dynamic and prototypically Japanese they could have been directed by Akira Kurosawa.
    • 65 Metascore
    • 91 William Arnold
    An unusually satisfying and inspiring historical epic from one of contemporary cinema's best filmmakers.
    • 78 Metascore
    • 91 William Arnold
    An absorbing and fulfilling experience -- even though it ends with a question mark.
    • 71 Metascore
    • 91 William Arnold
    A highly original and progressively riveting personal adventure.
    • 93 Metascore
    • 91 William Arnold
    The film is an extraordinarily complex, well-rounded and multileveled portrait of how Crumb got to be the way he is, as well as a tribute to how he was miraculously able to rise above his dysfunctional roots by putting his demons into his art. [16 Jun 1995]
    • Seattle Post-Intelligencer
    • 72 Metascore
    • 91 William Arnold
    The movie is basically a piece of fluff, not always coherently directed and almost too consistently somber for a movie that wants to be a romantic comedy. Still, it comes together with considerable emotional impact, mainly on the strength of the stars. [24 May 1991, p.14]
    • Seattle Post-Intelligencer
    • 58 Metascore
    • 91 William Arnold
    The film is a charming little romantic comedy based on a high-concept premise - one of those fraudulent marriages whereby an alien marries an American citizen to get his green card, or permanent residency. [11 Jan 1991, p. 6]
    • Seattle Post-Intelligencer
    • 62 Metascore
    • 91 William Arnold
    Jacob's Ladder is also undeniably spooky. It creates and maintains a mood of paranoia, its special visual effects are original and nightmarish, and it has at least three sequences as haunting as anything I've seen in some time. [2 Nov 1990, p.9]
    • Seattle Post-Intelligencer
    • 81 Metascore
    • 91 William Arnold
    It's a rich, engrossing ensemble drama that reveals itself very slowly, is filled with multidimensional characters and multi-layered performances, and works toward an amazingly verisimilitude. [19 Jan 1996]
    • Seattle Post-Intelligencer
    • 81 Metascore
    • 91 William Arnold
    Broad and funny, its sensibility is very campy and it's out to be loved by everyone.
    • 76 Metascore
    • 91 William Arnold
    An exhilarating musical experience.
    • 79 Metascore
    • 91 William Arnold
    It works on several levels, and stands out as a wistful meditation on the psychological cost of 9/11.
    • 79 Metascore
    • 91 William Arnold
    Is it possible to have yet another expensive excursion into this genre that seems in any way fresh, original and alive? The answer, surprisingly, is yes.
    • 62 Metascore
    • 91 William Arnold
    The real joy here is the performance of Jean Dujardin, who, besides being very funny as the Gallic Maxwell Smart, is also enormously charismatic and is made to look uncannily (and I do mean uncannily) like the young Sean Connery of "Dr. No" and "Goldfinger."
    • 65 Metascore
    • 91 William Arnold
    It's crammed full of the dash, filmmaking flair, swashbuckling magic, impossible stunts and tongue-in-cheek humor that made the series such a phenomenon of its time, and -- for those versed in its traditions -- almost every frame is enjoyable on some level.
    • 89 Metascore
    • 91 William Arnold
    An engrossing study in abnormal psychology, an inspirational drama that tells us a determined man really can do anything his mind can envision and is the first film that plays on what could become a phenomenon of the new millennium: World Trade Center nostalgia.
    • 58 Metascore
    • 91 William Arnold
    It's an exciting action spectacle and a thoughtful, cumulatively moving family drama.
    • 57 Metascore
    • 91 William Arnold
    An uncompromising and ultimately chilling look at individual creativity trampled by corporate greed, and its timing could not be more appropriate.
    • 63 Metascore
    • 91 William Arnold
    Changeling doesn't care if you love it or hate it, it makes no compromises to fashion and it's charged with that unmistakable assurance of a master filmmaker at his creative peak.
    • 86 Metascore
    • 91 William Arnold
    This is Boyle's fullest, most satisfying work and an audience-pleaser that deserves to be a big hit.