For 108 reviews, this critic has graded:
  • 76% higher than the average critic
  • 3% same as the average critic
  • 21% lower than the average critic
On average, this critic grades 7.9 points higher than other critics. (0-100 point scale)

William Goss' Scores

  • Movies
Average review score: 67
Highest review score: 100 Before Midnight
Lowest review score: 25 21 and Over
Score distribution:
  1. Positive: 67 out of 108
  2. Negative: 4 out of 108
108 movie reviews
    • 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.
    • 97 Metascore
    • 86 William Goss
    Ejiofor’s tightly clenched conviction perfectly embodies hope and righteousness against all odds. He gives the best performance of his career to date, and what’s more, he gives “Slave” its bruised, beating heart with every scene.
    • 96 Metascore
    • 94 William Goss
    The fact that Cuarón’s film strives to be something more than thoroughly harrowing — no small feat in and of itself — solidifies its existence as a marvel of not just technical craft but sheer imagination as well
    • 94 Metascore
    • 100 William Goss
    Before Midnight manages to be an emotionally astute and tremendously enjoyable conclusion to this rather improbable trilogy.
    • 83 Metascore
    • 85 William Goss
    A well-polished production with a remarkable soundtrack.
    • 82 Metascore
    • 87 William Goss
    [Brie Larson's] performance is something of a quiet revelation, and in turn, the same could be said of the film itself.
    • 81 Metascore
    • 83 William Goss
    As willfully oblique as his first film was densely foreboding, a rumination on the perils and pleasures of interpersonal connection that would seem to refuse any easy connection with even the most curious of audiences.
    • 81 Metascore
    • 87 William Goss
    A knowing take on movies and maturity alike, The World’s End is just as thoroughly thoughtful as those which came before it, and maybe more than ever, you’ll find yourself laughing to keep from crying.
    • 80 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.
    • 78 Metascore
    • 83 William Goss
    Under the Skin is a deliberately oblique piece of work that prizes rhythms and textures above hows and whys.
    • 76 Metascore
    • 58 William Goss
    A glimpse into how three different definitions of love can find themselves quietly at odds, the interactions between our three leads are always convincing if not always compelling.
    • 76 Metascore
    • 78 William Goss
    Philomena honors its namesake by valuing potent understatement over potential hysterics.
    • 76 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.
    • 76 Metascore
    • 68 William Goss
    This long-distance love story is comfort food in any language, perfectly agreeable and unlikely to surprise.
    • 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.
    • 76 Metascore
    • 100 William Goss
    Mud
    That Nichols is able to orchestrate this entire journey with steady tension and lyrical imagery is a testament to his storytelling capabilities.
    • 76 Metascore
    • 67 William Goss
    We’re given fairly straightforward talking-head accounts complemented with an increasing amount of archival material as the narrative progresses further towards the present, all coated in a VH1-suited slickness that belies the reported funk of the studio itself. Fortunately, that slickness is in service of tales from some substantial musicians.
    • 75 Metascore
    • 78 William Goss
    Fiennes and writer Abi Morgan mercifully forsake the gee-golly traditions of similar fame-minded fare...in constructing a narrative as emotionally repressed as its subjects must have been, with each character existing within their own arena of personal and social compromise.
    • 75 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.
    • 74 Metascore
    • 84 William Goss
    Rarely a moment is ever wasted, a consequence ignored, and though the climax is a corker, the final shot is even better. Prisoners requires and rewards your attention in equal measure. Be ready.
    • 74 Metascore
    • 81 William Goss
    A potent encapsulation of how fame and finance beget fear and grief.
    • 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.
    • 73 Metascore
    • 60 William Goss
    Prince Avalanche occupies a strange space between [Green's] broadly comedic fare and devoutly character-driven dramas, and while we’re happy to see him closer to the latter mode once more, let’s hope that he’ll be back in a bigger way the next time out.
    • 72 Metascore
    • 77 William Goss
    Not as touching or boldly transgressive as its ultra-violent peers.
    • 71 Metascore
    • 84 William Goss
    Good luck finding a modern martial-arts epic that can even hold a candle to it.
    • 71 Metascore
    • 75 William Goss
    Fans of Birbiglia should be easily entertained, and with a little luck, it will only earn this particular loveable neurotic a few more of those.
    • 71 Metascore
    • 82 William Goss
    In a film about how hard it is to know what you want, and then to express it, Swanberg gets to the heart of the matters of the heart with disarming doses of both charm and wisdom.
    • 71 Metascore
    • 89 William Goss
    A superb tearjerker in between beautiful bluegrass ballads.
    • 70 Metascore
    • 86 William Goss
    Among the stronger American horror films of the year.