Bill Goodykoontz

Select another critic »
For 1,483 reviews, this critic has graded:
  • 65% higher than the average critic
  • 4% same as the average critic
  • 31% lower than the average critic
On average, this critic grades 3.8 points higher than other critics. (0-100 point scale)

Bill Goodykoontz's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 Boyhood
Lowest review score: 20 Love the Coopers
Score distribution:
1483 movie reviews
    • 56 Metascore
    • 50 Bill Goodykoontz
    Tag
    The biggest problem is the whiplash-inducing tonal shifts. Director Jeff Tomsic, working from a script by Mark Steilen and Rob McKittrick, swings from violent slapstick to tender moments in slapdash fashion. You can’t get a handle on it, though maybe that’s fitting in a movie about trying to keep from being tagged.
    • 80 Metascore
    • 80 Bill Goodykoontz
    It’s good — funny, smart and contemporary. By definition it can’t be as groundbreaking as the first film, but never does it feel like a cash grab.
    • 87 Metascore
    • 90 Bill Goodykoontz
    Mostly it's brilliant, challenging, deliberate, scary as all get out. It's as much a portrait of a dysfunctional family as it is a horror movie. But don't let that relax you. It's definitely a horror movie.
    • 57 Metascore
    • 50 Bill Goodykoontz
    Writer and director Drew Pearce makes his feature debut in a confused, jumbled film that never quite gets its story straight.
    • 85 Metascore
    • 90 Bill Goodykoontz
    Neville, who won an Oscar for "20 Feet from Stardom," could have gone a different route, maybe try to dig up some dirt. But there really doesn't seem to be any. I don't know if it's Rogers' influence, but I like this film just the way it is.
    • 66 Metascore
    • 80 Bill Goodykoontz
    Thanks to Layton's filmmaking choices, American Animals ends up being not so much a crime movie as an examination of truth and memory, as well as blame and responsibility. And it's a lot better for it.
    • 61 Metascore
    • 50 Bill Goodykoontz
    Bullock’s performance anchors the movie — and nearly drags it down. Ocean’s 8 has the cast, and the cultural moment, it needs. It just doesn’t do enough with it.
    • 85 Metascore
    • 90 Bill Goodykoontz
    Paul Schrader’s First Reformed is an amazing examination of faith, a film that stays with you long after you have left the theater.
    • 62 Metascore
    • 70 Bill Goodykoontz
    On Chesil Beach, Dominic Cooke’s adaptation of Ian McEwan’s bestseller, features a couple of outstanding performances, but you have to suffer through some serious heartbreak to enjoy them. If “enjoy” is even the word. This is seriously depressing stuff. But good! Really. Don’t let the downbeat vibe scare you off.
    • 63 Metascore
    • 70 Bill Goodykoontz
    There are shortcomings in this film, and most of them are Wenders’ responsibility. But there is also inspiration here, if you’re willing to look for it.
    • 53 Metascore
    • 30 Bill Goodykoontz
    These supremely talented women are put through embarrassing paces by director and co-writer Bill Holderman. It’s meant to be a film about a reawakening of desire, and thus life. It turns out to be a wince-inducing mess.
    • 79 Metascore
    • 80 Bill Goodykoontz
    Denis (“Beau Travail,” “35 Shots of Rum”) is a very particular filmmaker, forcing you to adjust to her rhythms. Never is that more apparent than the last scene, which goes on for a quarter of the film or more, right through the end credits and beyond.
    • 62 Metascore
    • 70 Bill Goodykoontz
    A perfectly capable movie that has chases and romance and double-crosses and double-double-crosses and action and is, ultimately, absolutely inessential.
    • 66 Metascore
    • 80 Bill Goodykoontz
    Deadpool 2 is, above all else, a lot of fun. (And yes, you must stay for the post-credit scenes.) Sometimes it maybe doesn’t take itself seriously enough (after about the 50th crack you do kind of want to tell Reynolds to hold off for a minute). But in a genre that takes itself so deadly seriously, this is like a breath of fresh air.
    • 53 Metascore
    • 50 Bill Goodykoontz
    The elements are in place for a decent little movie, but Loach overplays everything, offering nothing in the way of surprises. Bobby’s supposed transformation isn’t particularly revelatory, but then, neither is anything else.
    • 81 Metascore
    • 70 Bill Goodykoontz
    What’s as striking as the violence is Fargeat’s confidence as a filmmaker. She risks absurdity at every turn, fearlessly daring the audience to accept unlikely scenarios. Take that challenge. However difficult “Revenge” may be to watch at times, it’s worth it.
    • 50 Metascore
    • 50 Bill Goodykoontz
    Racer and the Jailbird, the inelegantly translated title of “Le Fidele,” is a first-rate caper movie. It’s also a pretty good romance. And a boring, suffocating melodrama.
    • 46 Metascore
    • 50 Bill Goodykoontz
    It’s a movie devoid of storytelling momentum, conflict and, worst of all, much in the way of laughs.
    • 68 Metascore
    • 80 Bill Goodykoontz
    The best thing about Ghost Stories — and there are a lot of good things — is the confidence of its directors.
    • 74 Metascore
    • 80 Bill Goodykoontz
    Lelio, who also directed the excellent “Gloria” and last year’s Oscar winner for best foreign film, “A Fantastic Woman,” never shortchanges the desire or the faith, a neat balancing act between the competing elements at the heart of Disobedience, and the success of which makes it so compelling and worthwhile.
    • 72 Metascore
    • 80 Bill Goodykoontz
    RBG
    RBG, Betsy West and Julie Cohen’s engrossing documentary about Ruth Bader Ginsburg, is clearly meant to praise the 85-year-old Supreme Court justice, and it does a fine job of it.
    • 75 Metascore
    • 80 Bill Goodykoontz
    Some surprises are more effective than others. But what holds the film together are a couple of really strong performances by Charlize Theron and Mackenzie Davis. They have a terrific, and unique, chemistry that helps smooth over a few rough patches.
    • 46 Metascore
    • 40 Bill Goodykoontz
    Bad Samaritan is a horrible little movie with two things going for it: one wigged-out performance and one genuinely terrific line that's so great, you want to be able to say that it saves the film.
    • 55 Metascore
    • 60 Bill Goodykoontz
    Both Garrel and Martin are good. And it’s important to note that Hazanavicius is quite adept at the comedic bits, as well as at the occasional more-serious scenes, which deal with the disintegration of the marriage. The problem is his inability to merge the disparate tones.
    • 58 Metascore
    • 70 Bill Goodykoontz
    It’s a promising debut for Böhm, with a lot of promise. But it’s a home run for Powley, who makes Wildling worth watching even when it shouldn’t be.
    • 92 Metascore
    • 90 Bill Goodykoontz
    The Rider is a beautiful movie, a Western of sorts that isn’t limited to that classification as it chronicles the life of a down-on-his-luck cowboy who simply keeps on living, as difficult as that sometimes can be.
    • 68 Metascore
    • 60 Bill Goodykoontz
    Thanos is the most interesting, and most complex, character here.
    • 41 Metascore
    • 40 Bill Goodykoontz
    What really saves Super Troopers 2, to the extent that it even wants to be saved, is how gleefully the Broken Lizard bunch goes about its work.
    • 80 Metascore
    • 70 Bill Goodykoontz
    At the beginning of the film, you want Hong to work through the scenes faster. By the time it’s done, you’ll wish they lasted longer. That’s a kind of magic, too.
    • 70 Metascore
    • 70 Bill Goodykoontz
    At times his film is genuinely absorbing, offering insight into the madness and euphoria of artistic creation, along with the sometimes-crushing doubt. Other times it’s just Armie Hammer sitting there. Nothing horrible about that. Just not great, either.

Top Trailers