For 107 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 7.5 points higher than other critics. (0-100 point scale)

William Goss' Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 Before Midnight
Lowest review score: 25 Texas Chainsaw 3D
Score distribution:
  1. Positive: 66 out of 107
  2. Negative: 4 out of 107
107 movie reviews
    • 33 Metascore
    • 50 William Goss
    Its ultimate merits may be few, but if nothing else, it stands on its own sweaty terms.
    • 35 Metascore
    • 50 William Goss
    At the end of the day, it’s a sure-handed sequel, but not a terribly thrilling one.
    • 56 Metascore
    • 50 William Goss
    A mostly mundane single-father drama.
    • 46 Metascore
    • 50 William Goss
    As emblematic of the film’s general indifference as anything is Driver’s central, perfectly fine performance.
    • 41 Metascore
    • 50 William Goss
    Given Garant and Lennon’s background on “The State” and “Reno 911,” their scattershot approach as filmmakers isn’t especially surprising; for every oddly specific Shakespeare reference or detour to the local po-boy joint, there’s an ongoing parade of puke and an awful rubber suit with which to contend.
    • 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.
    • 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.
    • 43 Metascore
    • 48 William Goss
    So self-conscious that it alienates the viewer early and often.
    • 32 Metascore
    • 45 William Goss
    Frankly, no one in this ensemble is done any favors by Jason Hall and Barry Levy’s screenplay, a “Duplicity” for dummies filled to the brim with double-crossing cliches.
    • 39 Metascore
    • 45 William Goss
    At first, it’s all fun and games whenever somebody gets hurt, but that’s not enough in and of itself to sustain the movie’s tension. We’re left waiting for characters to die off without much of a vested interest in anyone’s survival.
    • 39 Metascore
    • 43 William Goss
    A visually colorful but otherwise vanilla continuation of the series.
    • 26 Metascore
    • 42 William Goss
    To the film’s credit, it doesn’t waste much time in doling out shadowy figures and fake-outs for the gullible and easily goosed, and the cast as a whole dutifully delivers its panicked looks and cries in the night.
    • 28 Metascore
    • 42 William Goss
    Every scene of Danny Mooney’s directorial debut is brightly lit, every car squeaky clean, every moral dilemma transparent, with evidently thorough period detail undone by production values that lend even the riots an idyllic glow, while foiling the potential for truly dramatic conflict with leaden dialogue and predictable changes of heart.
    • 42 Metascore
    • 36 William Goss
    In fact, The Internship rivals the aggressively bland “Larry Crowne” for sheer tepidness, if not worse due to the exhaustive product placement for a company whose real-life presence is unlikely to soon wane.
    • 26 Metascore
    • 30 William Goss
    By any measure, 'Temptation' ranks amongst Tyler Perry's worst.
    • 31 Metascore
    • 25 William Goss
    The most frightening thing about the franchise at this point is that it just keeps on going, undaunted by the characteristics by which the first film made its name. Family is still family and a brand is still a brand, but the blade… well, it’s only grown dull.
    • 34 Metascore
    • 25 William Goss
    Yes, surely for them, the lucky few and probable many, 21 and Over will be the Best Movie Ever. For the rest of us, though, it’s something of a chore.

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