Joe Morgenstern
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For 1,916 reviews, this critic has graded:
  • 41% higher than the average critic
  • 2% same as the average critic
  • 57% lower than the average critic
On average, this critic grades 0.4 points lower than other critics. (0-100 point scale)

Joe Morgenstern's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 Pan's Labyrinth
Lowest review score: 0 Wild Hogs
Score distribution:
1,916 movie reviews
    • 49 Metascore
    • 20 Joe Morgenstern
    Guess Who is, impurely and simply, a comic premise borrowed, turned around and dumbed down to the level of sketch or sub-sketch humor.
    • Wall Street Journal
    • 44 Metascore
    • 10 Joe Morgenstern
    Alan Arkin does the best trick, bringing a dollop of humanity to the role of Rance Holloway, the magician who was young Burt's inspiration. Apart from Rance, the whole production is slovenly nonsense, photographed on the cheap with blaring ghastliness. Yet it poses an intriguing mystery. Did the producers appeal to a denominator even lower than common by making their film as dumb as possible, or did it just turn out that way?
    • 45 Metascore
    • 10 Joe Morgenstern
    Looks like the deformed spawn of a development process gone awry.
    • Wall Street Journal
    • 30 Metascore
    • 10 Joe Morgenstern
    It's a terrible life, and a terrible movie.
    • Wall Street Journal
    • 36 Metascore
    • 10 Joe Morgenstern
    Any kind of acting requires courage. Great acting requires formidable courage. Then there’s the dogged courage, spawned by devotion to duty, of wonderful actors like these, doing what they’re asked to do even though they must know that it’s no damned good.
    • 43 Metascore
    • 10 Joe Morgenstern
    Too labored to be romantic and too derivative to be funny.
    • Wall Street Journal
    • 27 Metascore
    • 10 Joe Morgenstern
    Real feelings lurk just below the surface--Samantha's terror of growing old, Carrie's fear of eventual tedium in a childless marriage. Yet the surface is where the movie stays, like an old submarine with dead batteries.
    • 32 Metascore
    • 10 Joe Morgenstern
    How could a movie with such likable actors be so deeply dislikable?
    • Wall Street Journal
    • 37 Metascore
    • 10 Joe Morgenstern
    What a botch. All the King's Men, a remake of Robert Rossen's classic 1949 film about the rise and fall of a Southern demagogue, has no center, no coherence, no soul and no shame.
    • Wall Street Journal
    • 28 Metascore
    • 10 Joe Morgenstern
    Mr. Cage's knight ends up playing second banana to a digital devil. Welcome to the January dead zone.
    • 21 Metascore
    • 10 Joe Morgenstern
    Nothing but miscalculation from clumsy start to chaotic finish, an action thriller with a cynical, shriveled soul.
    • Wall Street Journal
    • 57 Metascore
    • 10 Joe Morgenstern
    Like Thor's hammer, this ersatz epic bludgeons its victims into submission. What's more, it requires them to stare at the source of their punishment through 3-D glasses.
    • 22 Metascore
    • 10 Joe Morgenstern
    Every now and then a movie's awfulness rises to the level of mystery.
    • 55 Metascore
    • 10 Joe Morgenstern
    Huckabees is godawful, a mirthless, bilious bore in which the vividly focused fury of "Three Kings" has become free-floating anger at the follies of human existence.
    • Wall Street Journal
    • 50 Metascore
    • 10 Joe Morgenstern
    My Homo sapiens brain was boggled by the movie's clumsiness, while my heart was chilled by the chance that otherwise mature members of my species might mistake this disjointed botch for summer entertainment.
    • Wall Street Journal
    • 47 Metascore
    • 10 Joe Morgenstern
    How much do I loathe this film? A lottico is putting it mildico.
    • 38 Metascore
    • 10 Joe Morgenstern
    Certainly trashy, but, stripped of Mr. Diesel's services and directed by John Singleton, it's a no-go Yugo in muscle-car sheet metal.
    • Wall Street Journal
    • 43 Metascore
    • 10 Joe Morgenstern
    A gross-out saga that sentient adults should avoid like the plague.
    • Wall Street Journal
    • 38 Metascore
    • 10 Joe Morgenstern
    This shabby enterprise gets so many things so wrong that it freezes your face into a cringe.
    • Wall Street Journal
    • 52 Metascore
    • 10 Joe Morgenstern
    The big news in Blade II is that there's something worse than vampires, but is there something worse than Blade II?
    • Wall Street Journal
    • 27 Metascore
    • 10 Joe Morgenstern
    The worst would-be-big-and-Capraesque-but-actually-bloated-and-bloviating-beyond-belief movie of the year.
    • Wall Street Journal
    • 40 Metascore
    • 10 Joe Morgenstern
    Adds up to one numbingly unfunny comedy.
    • Wall Street Journal
    • 35 Metascore
    • 10 Joe Morgenstern
    Robert De Niro collects another stupendous paycheck for starring in another piece of exploitable junk.
    • Wall Street Journal
    • 32 Metascore
    • 10 Joe Morgenstern
    In the 1980 movie “Urban Cowboy,” John Travolta rode a mechanical bull. In The Longest Ride, Scott Eastwood rides real bulls, but everything else is mechanical.
    • 34 Metascore
    • 10 Joe Morgenstern
    The Happening makes you wonder whether Mr. Shyamalan's own switch may have been flipped. How else to explain his film's befuddling infelicities, insistent banalities, shambling pace and pervasive ineptitude?
    • 36 Metascore
    • 10 Joe Morgenstern
    Mr. Smith's latest film is about nothing less than life and death, sin and atonement, and it takes the soggy cake for multiple layers of sentimentality topped by indigestible grandiosity.
    • 44 Metascore
    • 10 Joe Morgenstern
    It's a bad idea done disastrously.
    • Wall Street Journal
    • 55 Metascore
    • 10 Joe Morgenstern
    Hitchcock rings false from start to finish.
    • 59 Metascore
    • 10 Joe Morgenstern
    A symphony for tin ears, a sniggering assessment of human nature delivered with the faux-lofty tone of a Lexus commercial.
    • Wall Street Journal
    • 37 Metascore
    • 10 Joe Morgenstern
    Given the importance of that subject, the real mystery of Mr. Lee's movie is why it's so diffuse, dispirited, emotionally distanced and dramatically inert.

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