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 The Passenger (re-release)
Lowest review score: 0 Me, Myself & Irene
Score distribution:
1,179 movie reviews
    • 84 Metascore
    • 83 William Arnold
    It's a brilliant little microcosm of the '60s experience that, in a most gentle way, shows us how the counterculture probably was doomed from its inception.
    • 77 Metascore
    • 83 William Arnold
    A perceptive, fascinating and relatively evenhanded look at the most radical arm of the American student rebellion of the Vietnam era.
    • 61 Metascore
    • 83 William Arnold
    Hayek throws herself into this dream Hispanic role with a teeth-clenching gusto. She strikes a potent chemistry with Molina and she gradually makes us believe she is Kahlo.
    • 27 Metascore
    • 83 William Arnold
    Marks a surprising maturity, restraint and confidence to Carrey's acting. Even more than "The Truman Show," he plays it perfectly straight here, and his natural charisma carries the movie with just the right dose of Jimmy Stewart charm.
    • 67 Metascore
    • 83 William Arnold
    Makes the translation with all its wit, incisive dialogue and eccentric characters intact, and then some.
    • 43 Metascore
    • 83 William Arnold
    Goes down like a cool glass of lemonade on a hot day.
    • 68 Metascore
    • 83 William Arnold
    The film below it is such an entertaining and poignantly bittersweet take-down of a good man's midlife crisis that the translation still works like a charm.
    • 68 Metascore
    • 83 William Arnold
    It also boosts the punch of the movie that so many of its action scenes evoke the Iraqi War news footage of the past month, and the "X-Men" premise -- people persecuted because their difference makes them seem threatening -- carries even more relevancy and weight than it did three years ago.
    • 78 Metascore
    • 83 William Arnold
    An extraordinarily absorbing neo-realistic tragedy.
    • 90 Metascore
    • 83 William Arnold
    There's no denying the skill and flair with which director Paul Greengrass has restaged this unhappy event, creating an uncanny sense of immediacy and allowing us to be a fly on the wall at a seminal '70s tragedy.
    • 64 Metascore
    • 83 William Arnold
    The film is an across-the-board charmer that should appeal to children as well as their parents, aficionados of animation and old-movie buffs who will be challenged to sort out the blur of seemingly hundreds of classic film references.
    • 83 Metascore
    • 83 William Arnold
    Comes together with a wry sense of humor, a total lack of gratuitous movie nonsense and a graceful dignity that allows the humanity of his characters to shine through in a very special way.
    • 63 Metascore
    • 83 William Arnold
    Secretary is one of the best of a growing strain of daring films -- "Bliss," "The Lifestyle," "Satin Rouge" -- that argue that any sexual relationship that doesn't hurt anyone and works for its participants is a relationship that is worthy of our respect.
    • 71 Metascore
    • 83 William Arnold
    It has a terrific retro style, it's well-directed and it makes an engrossing showcase for its trio of stars.
    • 72 Metascore
    • 83 William Arnold
    It's an absorbing, progressively unsettling and ultimately very inspiring biographical reflection that, in the interest of creating its subject's internal landscape, plays some chilling tricks on its audience.
    • 55 Metascore
    • 83 William Arnold
    Blanchett is, warts-and-all, letter perfect.
    • 75 Metascore
    • 83 William Arnold
    Skillfully crafted, flawlessly paced, intellectually challenging tension of classics like "Bad Day at Black Rock."
    • 65 Metascore
    • 83 William Arnold
    Philip Messina's claustrophobic sets and Cliff Martinez's elegantly creepy score add to the film's distinction and work off Clooney's performance and Soderbergh's staging to create an hypnotic spell and suggest a cosmos full of spiritual possibility.
    • 53 Metascore
    • 83 William Arnold
    Mostly very good. It's exactly the big fix of Saturday-matinee adventure, blazing special effects, inside humor and sly self-references for which its fans have been lusting.
    • 69 Metascore
    • 83 William Arnold
    A gracefully subtle, sweet-spirited French parable of the brotherhood of man that was nominated for a Golden Globe, won Omar Sharif a César Award for best actor and has been a surprise hit in Europe.
    • 62 Metascore
    • 83 William Arnold
    Washington brings it off with an unforced and well-earned emotional wallop, and whose strong hand, keen eye, sweet spirit and good taste are reflected in almost every scene.
    • 69 Metascore
    • 83 William Arnold
    Although it's often uneven and rambling, its sum conveys an unusual richness and satisfaction. While most films these days are about nothing, this film seems to be about everything that's plaguing the human spirit in a relentlessly globalizing world.
    • 90 Metascore
    • 83 William Arnold
    At 160 minutes, it's a bit long and uneventful for anyone who is not at least a moderate fan of the musicals.
    • 87 Metascore
    • 83 William Arnold
    Gradually and inexorably, the small crises of the children assume a poignant dramatic profluence, and the soothing patience of the teacher begins to have an almost hypnotically balming effect on the viewer.
    • 51 Metascore
    • 83 William Arnold
    Avoid the hype, just go enjoy the movie
    • 94 Metascore
    • 83 William Arnold
    The French are very much the villains of the saga and, naturally, have always hated the movie (it was banned in Paris until 1971); and it remains controversial in other quarters as well because it seems to embrace, even celebrate, terrorism as a political tool.
    • 81 Metascore
    • 83 William Arnold
    Kidman's Virginia Woolf is already controversial -- Yet there's something fierce, noble and deeply affecting in her work that mirrors Woolf's prose style, and her turbulent presence is the soul of the movie.
    • 86 Metascore
    • 83 William Arnold
    Like Kubrick, Field doesn't make any moral judgments about his characters, and his film remains stubbornly enigmatic. It can be read as a high-class revenge thriller, an ode to the futility of vengeance or almost anything in between.
    • 72 Metascore
    • 83 William Arnold
    The movie misfires: It's numbingly cold and soulless, and the zeitgeist stays far beyond its reach. But it's so visually striking you almost don't notice, its relentlessly somber mood has a certain masochistic appeal and, while hardly a career-redefining performance, Hanks is as winning as ever.
    • 65 Metascore
    • 83 William Arnold
    A powerful experience, filled with dazzlingly executed action sequences that generally avoid the rock music and drugged-out conventions of "Apocalypse Now," and even exude a certain core of humanity.

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