For 249 reviews, this critic has graded:
  • 57% higher than the average critic
  • 2% same as the average critic
  • 41% lower than the average critic
On average, this critic grades 4.9 points higher than other critics. (0-100 point scale)

Bill Gallo's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 The Man Who Wasn't There
Lowest review score: 10 Deterrence
Score distribution:
  1. Negative: 29 out of 249
249 movie reviews
    • 54 Metascore
    • 50 Bill Gallo
    The whole thing has a dour resolve that undermines its attempts at humor.
    • 70 Metascore
    • 50 Bill Gallo
    There's so much EFFORT here to convince us of the switcheroo (already one of Hollywood's oldest ploys) that we soon weary of it.
    • 68 Metascore
    • 50 Bill Gallo
    The World's Fastest Indian is not likely to be regarded as some kind of masterpiece--far from it--but Hopkins once more keeps our ears open and our eyes fixed on the screen.
    • 35 Metascore
    • 50 Bill Gallo
    Parents wishing to protect their beloved daughters from clich&#233; overload might do well to withhold the old allowance money for a couple of weeks -- until the inevitable bout of Mandymoviemania subsides.
    • 54 Metascore
    • 50 Bill Gallo
    More well-meant than well-made, the movie is ethnically accurate (sometimes, you smother in the marinara), but its forced sensitivity can get abrasive, and the drama is full of false notes.
    • 37 Metascore
    • 50 Bill Gallo
    In this beautifully devious, exceptionally well-made entertainment, Mr. John Frankenheimer does it all, and more, with the assurance of an old master.
    • 49 Metascore
    • 50 Bill Gallo
    In the end, the filmmakers strike a bad bargain between action and myth: In their obvious attempt to shoo everyone into the tent--romantic and roughneck alike--they don't serve either end of the spectrum very well.
    • 40 Metascore
    • 50 Bill Gallo
    Villain? Great. Verdict? Average.
    • 54 Metascore
    • 50 Bill Gallo
    Yet another version of the conscience-stricken white soldier Kevin Costner played in "Dances With Wolves" and the Indian killer-turned-noble warrior Tom Cruise gave us in "The Last Samurai."
    • 42 Metascore
    • 50 Bill Gallo
    The low-wattage thrills, lukewarm jokes and unconvincing caricatures we encounter in The Big Bounce simply don't generate that kind of excitement.
    • 54 Metascore
    • 50 Bill Gallo
    Damon looks like a kid lost in the wrong neighborhood, and his acting manners underscore that impression--everything is a bit too fine, too neat...An intermittently interesting, intermittently foolish film.
    • 71 Metascore
    • 50 Bill Gallo
    Suffice it to say that Cruise never seems right in this part--never as treacherous as he should be, nor as mysteriously tortured. Foxx has his moments, but there's no room for his trademark humor, and we can never quite get our minds around the idea that the hit man has beguiled the cabbie.
    • 50 Metascore
    • 50 Bill Gallo
    As usual, Hollywood hitmeister Bay is more interested in blowing stuff up than in addressing deep questions like the morality of science and the false myths of civilization, and these explosions go on for over two hours.
    • 45 Metascore
    • 50 Bill Gallo
    What a shame to squander the dramatic riches of Jones's life on third-rate caricature and paint-by-numbers storytelling.
    • 55 Metascore
    • 50 Bill Gallo
    Yes
    Shades of "House of Sand and Fog," without the compelling drama.
    • 69 Metascore
    • 50 Bill Gallo
    As another exposé of stubbornness, petty opportunism, and greed, there's some residual value in the story of two unappealing characters.
    • 38 Metascore
    • 50 Bill Gallo
    Here's a fervent, G-rated version of contemporary life in which the divine overcomes the earthly and miracles are commonplace. It's aimed squarely at the emerging Christian market.
    • New Times (L.A.)
    • 52 Metascore
    • 50 Bill Gallo
    The dumbed-down movie version of Frances Mayes' best-selling travel memoir Under the Tuscan Sun is a virtual case study of Hollywood's irrepressible urge to lower the bar in the hopes of upping the take.
    • 58 Metascore
    • 50 Bill Gallo
    By all accounts, Marsh has absorbed classic crazy-killer thrillers like "Psycho," "The Night of the Hunter" and "Badlands," but The King isn't likely to join such esteemed company.
    • 49 Metascore
    • 50 Bill Gallo
    The movie's not great, but Mom might like it.
    • 61 Metascore
    • 50 Bill Gallo
    This plodding mediocrity displays none of the flair or the compelling trickery that enlivened its 2002 prototype.
    • 60 Metascore
    • 50 Bill Gallo
    This romantic tragedy has the measured gentility of the M.I. classics, but its sheen of crass melodrama is startling, and its many metaphors run amok in a tangle.
    • 57 Metascore
    • 50 Bill Gallo
    Director Thomas Carter (no relation to Ken) relies on processed emotion and stock characters, and not even the inevitable Big Game excites us very much.
    • 47 Metascore
    • 50 Bill Gallo
    It's a workmanlike adventure yarn, intermittently reverent to the canon but not very inspired, and it must be said that Banderas is starting to show signs of wear.
    • 72 Metascore
    • 50 Bill Gallo
    In the end, Stevie is a relentlessly messy, sometimes trying picture of family dysfunction, official neglect and personal tragedy, a disturbing redneck soap opera about real people and real consequences in which the protagonist--like the filmmaker--often proves to be as unlikable as he is sympathetic.
    • 49 Metascore
    • 50 Bill Gallo
    Carrey and the Farrellys are equal-opportunity offenders.
    • 45 Metascore
    • 50 Bill Gallo
    Competently if unremarkably directed by Englishwoman Clare Kilner, should prove compelling enough to Moore's huge legion of fans.
    • 55 Metascore
    • 50 Bill Gallo
    This is a Tom Cruise vehicle, pure and simple, and that means it's destined to be the biggest chunk of guilty white-boy wish fulfillment since Kevin Costner got down with the Sioux in "Dances With Wolves." In fact, the parallels are all but plagiaristic.
    • 44 Metascore
    • 40 Bill Gallo
    This badly muddled adaptation of a complex novel chases after Guterson's many skeins and themes with no unifying principle in mind.
    • 57 Metascore
    • 40 Bill Gallo
    There is more anxiety than loving humor in the proceedings, and a noticeable lack of charm.
    • New Times (L.A.)

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