Williams’s best movies (Popeye, The World According to Garp, Moscow on the Hudson) are the ones where he is given a well-written character to play, and held to the character by a strong director. In his other movies, you can see him trying to do his stand-up act on the screen, trying to use comedy to conceal not only himself from the audience—but even his character. The one-liners and adlibs distance him from the material and from his fellow actors. Hey, he’s only a visitor here.