William Thomas

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For 204 reviews, this critic has graded:
  • 48% higher than the average critic
  • 2% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 3.9 points lower than other critics. (0-100 point scale)

William Thomas' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Superman
Lowest review score: 20 The Haunting
Score distribution:
  1. Positive: 60 out of 204
  2. Negative: 11 out of 204
204 movie reviews
    • 75 Metascore
    • 60 William Thomas
    A Jamaican classic with an awesome OST.
    • 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.
    • 28 Metascore
    • 40 William Thomas
    It’s a film that doesn’t so much invite you to switch off your brain as take it out and dump it in the nearest popcorn box.
    • 46 Metascore
    • 40 William Thomas
    A sci-fi horror dimmer than the dark side of the moon.
    • 79 Metascore
    • 60 William Thomas
    While not quite on a par with Andrew Haigh's "Weekend," this is still an undeniably powerful piece of filmmaking.
    • 59 Metascore
    • 40 William Thomas
    What could have been an effective excoriation of US drug policy and a proper look at the violence inherent in the trade is wasted on a simplistic thriller that offers very little, especially given who is behind the camera. Sorry if that harshes anyone's buzz.
    • 36 Metascore
    • 40 William Thomas
    Lacking the bite of "Attack The Block," Stiller and co. are happy to fall back on their usual shtick, with director Schaffer providing barely enough juice to power the laughs.
    • 58 Metascore
    • 40 William Thomas
    Despite some good moments, Agents J, O and K are missing an E.
    • 18 Metascore
    • 40 William Thomas
    Even with The Exorcist in the world, there is still scope for a contemporary, shocking and thrilling film to be made on the subject of possession. But this is not it: some found footage should really just stay lost.
    • 76 Metascore
    • 60 William Thomas
    Despite a top-notch cast performing well, and bravely in the case of Knightley, this is an austere, somewhat repressed movie. It never really gets under the skin in the way Cronenberg does at his best.
    • 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.
    • 60 Metascore
    • 60 William Thomas
    Don't expect the puppet to wisecrack - there's more pain here than in "The Passion Of The Christ." It never quite comes together in a satisfying way, but it's still a brave, strange, brain-stirring piece of filmmaking.
    • 29 Metascore
    • 60 William Thomas
    Oldman and Seyfried prove to be the big attractions, but Hardwicke's Riding Hood legend still lacks bite.
    • 56 Metascore
    • 40 William Thomas
    Slow, ponderous and as shallow as it thinks it is deep, lifted only by an impressive opening and fine work from Damon and Howard.
    • 39 Metascore
    • 40 William Thomas
    High hopes of magic from the Gondry-Rogen pairing are dashed. Some neat touches aside, this isn't so much eternal sunshine, more superbad.
    • 36 Metascore
    • 40 William Thomas
    Cowering in the shadow of the Picture Show, this sequel of sorts builds on none of the risks take by its predecessor.
    • 49 Metascore
    • 40 William Thomas
    Too glossy to evoke real sexual tension or, more crucially in this genre, fear, Laura Mars suffers from the over complication of something so simple as serial killing.
    • 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.
    • 95 Metascore
    • 80 William Thomas
    This animated treatment does it absolute justice too. The spooky bits are suitably scarey - the production dates back to a time before anybody worried about mentally scarring the little mites, thus the "Have a bite, dearie" scene means a lot of excited peeping through fingers - the slapstick humour content is high and it contains none of the period references that crept into later Disney cartoons, thus doesn't appear to have dated. But largely it succeeds because it really is a great deal of fun.
    • 67 Metascore
    • 60 William Thomas
    Engaging performances by Penn and Walken can’t quite turn this brutal curio into something more substantial.
    • 24 Metascore
    • 40 William Thomas
    Rad
    Almost palatable, with some fast-moving stunts but dreadful dialogue.
    • 88 Metascore
    • 80 William Thomas
    This is more a favourite of the children than adult Disney fans. It has a few memorable songs and has spawned a very popular stage production.
    • 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.
    • 62 Metascore
    • 60 William Thomas
    The only romantic comedy out there which spans two lifetimes, Chances Are you'll wind up wishing it didn't.
    • 58 Metascore
    • 60 William Thomas
    An unsatisfying conclusion, but an inspirational story deftly handled by Freeman.
    • 50 Metascore
    • 60 William Thomas
    Not only do the pair have to prepare for the upcoming race, but, hey, they also have to deal with a hysterical mother, a dying father, and the knowledge that one brother is destined for the same fate as pops. Not quite as sickly as it sounds, with a fair few hints of the onscreen magnetism to come.
    • 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.
    • 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.
    • 82 Metascore
    • 100 William Thomas
    Life-affirming and often laugh-out-loud funny, this is feel-good movie-making par excellence.
    • 62 Metascore
    • 40 William Thomas
    Like the stranded astronauts, we are forced to sit around for too long in stale air, waiting for something to happen. An overly-long, vacuous foray into space.

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