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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    • 57 Metascore
    • 75 William Goss
    Evil Dead
    The downright gnarliest mainstream horror release in recent memory, Evil Dead is certainly a considerable and occasionally commendable dose of the ol’ ultra-violence, but Fede Alvarez’ Raimi-sanctioned update of 1981’s cult favorite only really has that demented determination going for it.
    • 57 Metascore
    • 74 William Goss
    Greetings from Tim Buckley
    Two Buckleys for the price of one, but the real star here is Penn Badgley.
    • 56 Metascore
    • 50 William Goss
    The End of Love
    A mostly mundane single-father drama.
    • 55 Metascore
    • 67 William Goss
    Antiviral
    From the concept on down, Cronenberg’s film inevitably resembles the ‘80s body horror with which father David made his name, but Brandon brings his own antiseptic eye to this queasy noir mutation, like “D.O.A.” for a self-serving near-future.
    • 55 Metascore
    • 79 William Goss
    2 Guns
    In a season stuffed with empty eye candy, 2 Guns comes along as something of a welcome burrito — plenty satisfying and hardly nutritious.
    • 55 Metascore
    • 58 William Goss
    The Great Gatsby
    In the end, his (Luhrmann) Gatsby takes the fitting form of a cocktail glass, at once undeniably polished and unfailingly empty.
    • 54 Metascore
    • 83 William Goss
    V/H/S
    V/H/S delivers the thrills and chills craftily and with a better batting average than usual.
    • 54 Metascore
    • 58 William Goss
    The Last Stand
    The bloodshed speaks volumes enough, though, even if it takes some time getting to the mayhem proper.
    • 54 Metascore
    • 67 William Goss
    Oblivion
    Glaringly indebted to several earlier works and the film overall remains beholden to one established brand above all others: Tom Cruise.
    • 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.
    • 53 Metascore
    • 75 William Goss
    John Dies at the End
    John Dies at the End is easily funnier than it is scary, and much like the drug at the center of the story, it offers one hell of a trip.
    • 53 Metascore
    • 58 William Goss
    Carrie
    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.
    • 52 Metascore
    • 65 William Goss
    White House Down
    At best, White House Down is a sure-fire way to kill two hours, if not countless brain cells.
    • 52 Metascore
    • 59 William Goss
    The Monuments Men
    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.
    • 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.
    • 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.
    • 50 Metascore
    • 75 William Goss
    I Give It a Year
    The beats and trappings are all standard-issue, but the gags are funny enough, often enough, to offset such routine proceedings.
    • 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.
    • 50 Metascore
    • 72 William Goss
    Now You See Me
    The film itself is sly and smug in kind, fleetingly enjoyable for all of its old-school showmanship and high-tech hokiness.
    • 49 Metascore
    • 58 William Goss
    Space Station 76
    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.
    • 49 Metascore
    • 60 William Goss
    Haunter
    The premise is provoking and well-conceived, confidently moving things forward until the increasingly knotty rules of the film’s universe eventually come to overbear the experience a bit in the homestretch.
    • 48 Metascore
    • 67 William Goss
    Some Girl(s)
    It’s minor LaBute, but nonetheless short and bittersweet.
    • 47 Metascore
    • 54 William Goss
    RED 2
    Every double-cross and ticking clock is familiar in the worst ways.
    • 47 Metascore
    • 66 William Goss
    Maniac
    Maniac is a bit like watching an amputee play hopscotch: there’s no way that it’s polite to stare for this long, but you just have to see if this guy’s gonna make it to the end.
    • 47 Metascore
    • 60 William Goss
    A Teacher
    Burdge is left to do much of the heavy lifting in terms of inviting the audience into her protagonist’s shaky state, and her performance boasts a remarkable emotional precision throughout — if ever there’s a reason to seek this one out, it would be for her.
    • 46 Metascore
    • 50 William Goss
    Hunky Dory
    As emblematic of the film’s general indifference as anything is Driver’s central, perfectly fine performance.
    • 44 Metascore
    • 58 William Goss
    The Incredible Burt Wonderstone
    Like the back half of its namesake, Wonderstone isn’t terribly hip, edgy or new itself, just amusing enough to pass the time. While Scardino and friends do manage to end the film on an admirably nutty note, this gathering of comedic minds ultimately fails to produce any true movie magic.
    • 43 Metascore
    • 57 William Goss
    Wish I Was Here
    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.
    • 43 Metascore
    • 58 William Goss
    The ABCs of Death
    Even at thirty seconds a piece, 26 shorts would feel, fittingly, like overkill. The ABCs of Death has no shortage of inventive, ironic and gruesome sketches, but the novelty of its successes just barely outweighs its stillborn stuff.
    • 42 Metascore
    • 60 William Goss
    Swerve
    Driven by Paul Grabowsky’s deceptively jaunty score, Swerve is ably performed and tightly paced... But it doesn’t stick the landing.
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