For 109 reviews, this critic has graded:
  • 77% higher than the average critic
  • 3% same as the average critic
  • 20% lower than the average critic
On average, this critic grades 4.6 points higher than other critics. (0-100 point scale)

William Goss' Scores

  • Movies
  • TV
Average review score: 68
Highest review score: 100 Before Midnight
Lowest review score: 25 21 and Over
Score distribution:
  1. Positive: 68 out of 109
  2. Negative: 4 out of 109
109 movie reviews
    • 73 Metascore
    • 80 William Goss
    The first live-action endeavor from director Brad Bird (The Incredibles, The Iron Giant), Mission: Impossible – Ghost Protocol is filled with the verve and clarity of his animated action sequences while lending just enough gravity and remote plausibility to the stunts and gadgetry to keep it from becoming a glorified cartoon in and of itself.
    • 70 Metascore
    • 83 William Goss
    Faults is a strangely funny, often eerie accomplishment, and it’s a testament to why people like us tend to call first features like this “promising.”
    • 100 Metascore
    • 95 William Goss
    Like the best of fiction, it conveys greater truth about coming to terms with the world at large, and regardless of whether each individual scene is ultimately justified in its inclusion, the cumulative impact of seeing something resembling a life unfold over a mere two hours and forty minutes is overwhelming.
    • 49 Metascore
    • 58 William Goss
    There’s no denying the lovingly recreated production and costume design, all curved corners and wide lapels, and the era’s sexual politics and self-help movement are slyly incorporated as well... However, the droll humor on hand is more hit-or-miss.
    • 70 Metascore
    • 75 William Goss
    What really sells both the fashionable remove and generational paralysis is the pairing of Elliott and McNulty, as they effortlessly establish a passive-aggressive relationship from the get-go that thrives in a constant state of reliably unreliable codependence.
    • 68 Metascore
    • 76 William Goss
    If the Favreau-written “Swingers” concerned itself with the pursuit of meaningful romance and the Favreau-directed “Made” tackled the pursuit of a better living, then the slight if continually amusing Chef is clearly his paean to rekindling one’s passions, whether as an artist, a husband or a father.
    • 52 Metascore
    • 66 William Goss
    RoboCop has sound and fury to spare and even an inspired idea or two lurking beneath that polished exterior, but much like its upgraded namesake, this watchable mess ultimately lacks a prime directive to call its own.
    • 73 Metascore
    • 63 William Goss
    I’ve given A Field in England two tries now and each time found it to be occasionally ferocious and funny, severely trippy for stretches and at times outright tedious. With that said, I still can’t wait to see what the man does next.
    • 52 Metascore
    • 59 William Goss
    Monuments certainly isn’t unbearable to watch, but for all its quality pedigree and good intentions, the result is a frustratingly flat film that drifts from moment to moment with a curious lack of urgency and an overbearing sense of self-importance.
    • 43 Metascore
    • 57 William Goss
    Sprawling between plot lines and shifting between tones for longer than it ought to, but laden with enough pockets of truth to make you wish it had been better, more restrained, more disciplined, more trusting in its own emotional sensitivity to spare us all manner of dorky detours.
    • 75 Metascore
    • 79 William Goss
    The Trip to Italy is plenty enjoyable for fans of the first one and these two, but by the end, it also has the consistency of reheated comfort food.
    • 71 Metascore
    • 84 William Goss
    Good luck finding a modern martial-arts epic that can even hold a candle to it.
    • 76 Metascore
    • 68 William Goss
    This long-distance love story is comfort food in any language, perfectly agreeable and unlikely to surprise.
    • 54 Metascore
    • 66 William Goss
    With its painfully plain-spoken conflicts and eventually oversold gestures of kindness, Camp X-Ray may offer frustratingly little insight into the hazy world of wartime morality, but if nothing else, it suggests that Stewart may escape her own “Twilight”-shaped prison yet.
    • 64 Metascore
    • 87 William Goss
    A masterfully queasy blend of dark humor and darker humanity.
    • 60 Metascore
    • 68 William Goss
    Ultimately seems at war with itself, torn between its duties as an entertaining, engaging movie and a somber, sincere memorial, and in splitting the difference, the film effectively assaults its audience almost as aggressively as its subjects.
    • 78 Metascore
    • 73 William Goss
    While hardly insightful as a character study, Tracks can’t help but flourish as an Aussie travelogue, with cinematographer Mandy Walker doing justice to these vast and harsh environments.
    • 42 Metascore
    • 60 William Goss
    Driven by Paul Grabowsky’s deceptively jaunty score, Swerve is ably performed and tightly paced... But it doesn’t stick the landing.
    • 77 Metascore
    • 78 William Goss
    Philomena honors its namesake by valuing potent understatement over potential hysterics.
    • 74 Metascore
    • 81 William Goss
    A potent encapsulation of how fame and finance beget fear and grief.
    • 76 Metascore
    • 79 William Goss
    Steady-handed action is enough to elevate this film above its predecessor.
    • 74 Metascore
    • 70 William Goss
    As the rare overlap between music doc and advocacy piece, Musicwood is hopeful about a relatively unsung issue without necessarily being naïve.
    • 76 Metascore
    • 88 William Goss
    Teller manages a careful enough balance between painstaking technique and a larger cultural context over 80 brisk minutes to make even minor revelations feel like major moments.
    • 70 Metascore
    • 89 William Goss
    A superb tearjerker in between beautiful bluegrass ballads.
    • 36 Metascore
    • 60 William Goss
    Last Love hardly presents itself as a challenging picture, tugging as it does at the heartstrings with gentle persistence, but at its best moments, it is a sweetly considered one.
    • 38 Metascore
    • 50 William Goss
    Rare is the Western that’s too low-rent to be satisfyingly lurid, but with hardly any tension or personality to its name, Sweetwater just misses the mark.
    • 53 Metascore
    • 58 William Goss
    Alas, despite the timeless concerns of adolescent bullying and burgeoning sexuality, Carrie as a film fails to become its own satisfyingly whole interpretation of coming-of-age horrors both literal and figurative. Its bloodshed may be all dressed up, but it ultimately has nowhere to go.
    • 32 Metascore
    • 50 William Goss
    All the horror hallmarks do little to compensate for a dearth of genuine scares or surprises, and DiBlasi’s workmanlike approach isn’t distinctive enough to transcend the script’s clichés.
    • 41 Metascore
    • 64 William Goss
    More focused and less preachy than its exploitation-riffing predecessor, the comparably shoddy Machete Kills nonetheless peters out in the homestretch (and, for some, surely sooner).
    • 71 Metascore
    • 86 William Goss
    Among the stronger American horror films of the year.

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