William Thomas

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For 73 reviews, this critic has graded:
  • 43% higher than the average critic
  • 4% same as the average critic
  • 53% lower than the average critic
On average, this critic grades 2.8 points lower than other critics. (0-100 point scale)

William Thomas' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 The Exorcist [re-release]
Lowest review score: 20 Superman IV: The Quest for Peace
Score distribution:
  1. Positive: 18 out of 73
  2. Negative: 2 out of 73
73 movie reviews
    • 77 Metascore
    • 100 William Thomas
    Good performances from a strong cast and paranoid plotting enough to keep even the staunchest of remake nay-sayers quiet. Hitchockian production with a modern twist.
    • 96 Metascore
    • 100 William Thomas
    Sidney Lumet's dazzling debut, based on Reginald Rose's teleplay, delivers a masterclass in the pure dynamism of acting, as Henry Fonda's reasonable doubt gradually sways the 11 other jurors from their various prejudices.
    • 71 Metascore
    • 100 William Thomas
    A whimsical but optimistic tale of mistaken identity, it starred the Material Girl as the cheekily irresistible Susan, and turned Rosanna Arquette (repressed housewife Roberta) into a star.
    • 82 Metascore
    • 100 William Thomas
    Unlike a number of director’s cuts, this version does embellish the original film. It won’t, however, win any converts. Fans should see it again, first-timers should believe the hype. Non-believers should suffer eternal damnation.
    • 99 Metascore
    • 100 William Thomas
    With so many films dedicated to the agonies of filmmaking, Singin’ overflows with the pleasure of movie creation, stitching together references to Hollywood history with more alacrity than Tarantino. One of the highpoints of hoofin’ history but, more importantly, an unadulterated joy.
    • 90 Metascore
    • 100 William Thomas
    Little can come close to captivating the grandeur and epic quality of William Wyler's magnificent bum numb-er.
    • 60 Metascore
    • 90 William Thomas
    A suspense-filled nailbiter that plays on a fear no weapon weilding psycho can top.
    • 53 Metascore
    • 80 William Thomas
    A classic screwball comedy that draws its inspiration from the 1930's genre. The jokes are quick and amusing enough to carry it through it's hour-and-three-quarters. Russell and Hawn have fun with the characters which comes through and makes it all the funnier.
    • 65 Metascore
    • 80 William Thomas
    Tense, powerful and considerably less crass than "Crash," Elah may be jammed with ideas that don’t all connect, but Jones’ devastating performance makes this a compassionate and very human look at the Iraq conflict.
    • 80 Metascore
    • 80 William Thomas
    A spare and authentic screenplay unfolds in an almost documentary-like enviroment, there are no histrionics and the acting is of the highest order, but the film shocks and disturbs as much for its morally questionable purpose as in its ugly subject.
    • 49 Metascore
    • 80 William Thomas
    Outrageous and endearing, the Zombieland team swaps horror for crime in a daft caper that's undoubtedly slight but terrifically entertaining all the same. Very fast and lots of fun.
    • 61 Metascore
    • 80 William Thomas
    This is the Bond flick blessed with the best plot, a genuine sense of emotion and a spirit closest to Ian Fleming’s novels.
    • 74 Metascore
    • 80 William Thomas
    Likeable Robert Townsend — who also co-wrote and directed — is a delight in this patchy but consistently enjoyable chronicle of a young black actor’s efforts to crack Hollywood.
    • 59 Metascore
    • 80 William Thomas
    Undemanding, entertaining and thoroughly enjoyable.
    • 68 Metascore
    • 80 William Thomas
    Murray's initial transition from the small screen is a classic.
    • 88 Metascore
    • 80 William Thomas
    We must salute screenwriter Budd Schulberg (his speech for priest Karl Malden in the loading bay is still stirring). Add the acting/writing heroics a restrained score by Leonard Bernstein and a striking, charcoal look by cinematographer Boris Kaufman, and you have an elegiac portrait of labour relations that feels like a kick in the slats.
    • 59 Metascore
    • 80 William Thomas
    A welcome surprise, containing more bona fide scares than Romero's vision, while paying grand lip service to the old master. Truly worthy of that famous title.
    • 63 Metascore
    • 80 William Thomas
    Douglas and Turner make a great double act in this exuberantly directed adventure movie with a great start turn from the always enjoyable De Vito. Good stuff.
    • 66 Metascore
    • 60 William Thomas
    The script self-destructs, but the performances — including Daniel Stern as an expendable sidekick — are fun, and John Badham stages some super stunts with the insectile title machine.
    • 65 Metascore
    • 60 William Thomas
    A dedicatory, sometimes sombre recreation of the career of 50s teen-throb Richie Valens, which feels like a personal project by director Luis Valdez.
    • 55 Metascore
    • 60 William Thomas
    Election Year maintains the nervy tension that made the first films entertaining, but doubles down on the political metaphors, overwhelming you with its soap-box rhetoric.
    • 65 Metascore
    • 60 William Thomas
    Beyoncé proves her Dreamgirls turn was no fluke in this so-so Blues melodrama.
    • 43 Metascore
    • 60 William Thomas
    Nowhere near as good as the first one but all the same ingredients.
    • 57 Metascore
    • 60 William Thomas
    A fun, action-packed reintroduction to Conan Doyle's classic characters. Part Two should provide more in the way of scope.
    • 72 Metascore
    • 60 William Thomas
    A divisive film - too overwrought for some, perfectly emotionally pitched for others - how much it will appeal will depend on how romantically inclined the viewer is feeling.
    • 70 Metascore
    • 60 William Thomas
    Initially, the film works well as a tense, teasing suspense vehicle. But one of Dead Calm’s major problems is that it brings to mind ideas and plot similarities from so many other films that you are constantly being reminded of its own rather humble status.
    • 70 Metascore
    • 60 William Thomas
    Disney’s adaptation of the first book in T. W. White’s colourful Arthurian trilogy The Once And Future King (which also served as the source for the musical Camelot) is formulaic matinee fare, competent and sprightly but undistinguished.
    • 52 Metascore
    • 60 William Thomas
    Fun, but it mugs too hard.
    • 35 Metascore
    • 60 William Thomas
    A blockbuster that offers enough quirky pleasures to feel fresh and unpredictable.
    • 69 Metascore
    • 60 William Thomas
    While Dudley's booze-sodden antics tire after a while, there's relief in the form of John Gielgud as the old-fashioned English butler with a nice line in four-letter words, and a return to the screen from Liza Minelli, who plays the waitress Arthur falls in love with.

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