William Goss

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Film.com, The Dissolve, The Playlist
For 109 reviews, this critic has graded:
  • 77% higher than the average critic
  • 4% same as the average critic
  • 19% lower than the average critic
On average, this critic grades 2.1 points higher than other critics. (0-100 point scale)

William Goss' Scores

  • Movies
  • TV
Average review score: 68
Highest review score: 100 Mud
Lowest review score: 25 Texas Chainsaw 3D
Score distribution:
  1. Positive: 68 out of 109
  2. Mixed: 37 out of 109
  3. Negative: 4 out of 109
109 movie reviews
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    • 73 Metascore
    • 80 William Goss
    Mission: Impossible - Ghost Protocol
    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
    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
    Boyhood
    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.
    • 70 Metascore
    • 75 William Goss
    Fort Tilden
    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
    Chef
    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
    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
    A Field in England
    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.
    • 75 Metascore
    • 79 William Goss
    The Trip to Italy
    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
    The Raid 2
    Good luck finding a modern martial-arts epic that can even hold a candle to it.
    • 76 Metascore
    • 68 William Goss
    The Lunchbox
    This long-distance love story is comfort food in any language, perfectly agreeable and unlikely to surprise.
    • 54 Metascore
    • 66 William Goss
    Camp X-Ray
    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
    Big Bad Wolves
    A masterfully queasy blend of dark humor and darker humanity.
    • 60 Metascore
    • 68 William Goss
    Lone Survivor
    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
    Tracks
    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.
    • 77 Metascore
    • 78 William Goss
    Philomena
    Philomena honors its namesake by valuing potent understatement over potential hysterics.
    • 74 Metascore
    • 81 William Goss
    Narco Cultura
    A potent encapsulation of how fame and finance beget fear and grief.
    • 76 Metascore
    • 79 William Goss
    The Hunger Games: Catching Fire
    Steady-handed action is enough to elevate this film above its predecessor.
    • 74 Metascore
    • 70 William Goss
    Musicwood
    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
    Tim's Vermeer
    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
    The Broken Circle Breakdown
    A superb tearjerker in between beautiful bluegrass ballads.
    • 41 Metascore
    • 64 William Goss
    Machete Kills
    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
    We Are What We Are
    Among the stronger American horror films of the year.
    • 83 Metascore
    • 83 William Goss
    Under the Skin
    Under the Skin is a deliberately oblique piece of work that prizes rhythms and textures above hows and whys.
    • 75 Metascore
    • 78 William Goss
    The Invisible Woman
    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.
    • 96 Metascore
    • 94 William Goss
    Gravity
    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
    • 70 Metascore
    • 84 William Goss
    Prisoners
    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.
    • 52 Metascore
    • 77 William Goss
    Labor Day
    Jason Reitman’s adaptation of Joyce Maynard’s Labor Day is as consistently assured a piece of filmmaking as any we’ve seen from the filmmaker and very much in keeping with the decreasingly glib nature of his output.
    • 96 Metascore
    • 86 William Goss
    12 Years a Slave
    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.
    • 58 Metascore
    • 83 William Goss
    Escape from Tomorrow
    Moore’s movie may not seem to make much sense...but he does set up bits at the beginning that do come to pay off in ridiculous ways, and cinematographer Lucas Lee Graham pulls off the commendable feat of shooting the film with some margin of legitimate composition in spite of the crew’s apparent guerrilla antics.
    • 50 Metascore
    • 80 William Goss
    A.C.O.D.
    A.C.O.D. proves to be both a solid debut for Zicherman and a worthy vehicle for Scott and company, one that provides plenty of awkward laughs and generally gives the American farce a good name again.
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