Wall Street Journal's Scores

  • Movies
  • TV
For 2,252 reviews, this publication has graded:
  • 41% higher than the average critic
  • 2% same as the average critic
  • 57% lower than the average critic
On average, this publication grades 2.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Mother
Lowest review score: 0 Henry Fool
Score distribution:
2,252 movie reviews
  1. When does banter turn to blather? In the case of this action adventure, which was directed by Baltasar Kormákur, it's when you realize that keeping track of the barely fathomable plot isn't worth the bother.
  2. Dumbfoundingly erratic, for the most part, but smart and funny from time to time.
  3. Jim Carrey is the prime offender here. He's such an unseemly showoff that the movie keeps stopping in its tracks.
    • Wall Street Journal
  4. Reasonably entertaining time-travel romance.
    • Wall Street Journal
  5. Here's one more studio extravaganza brought down by numbing action and an addiction to generic digital effects.
  6. Going on too long seems to be the disease of the week; it's certainly what brings this movie down, though the going on here stems from a surfeit of implausible plot that suffocates the main characters and the excellent actors who play them.
  7. The story refuses to combust; it's a strangely unsatisfying combination of bloodless observations and unresolved sexuality.
    • 42 Metascore
    • 40 Critic Score
    Exemplifies Hollywood's standard practice of stomping a brilliant concept beyond recognition.
    • Wall Street Journal
    • 47 Metascore
    • 40 Critic Score
    The movie moves at such an agonizingly stately pace that by the end, side effects be damned, Henry's time-traveling gene starts to look mighty appealing.
  8. Ted
    Ted is often hilarious, sometimes sweet and, in the spirit of "Family Guy," consistently raunchy. Yet it's seriously overextended and, as the premise wears ever thinner, frantically overproduced.
  9. There's no scarier myth for males, and Mr. Lichtenstein turns various images of emasculation into a black comedy that flirts, fairly tediously, with pornography.
  10. Be warned: Although it was filmed on the North Shore of Hawaii's Oahu island, this is a surf movie, not a surfing movie. As for the empowered-girl premise -- well, the kids may not notice, but Blue Crush is about as progressive as a Virginia Slims commercial.
    • Wall Street Journal
  11. It's ended up a weak imitation of the original. [09 Aug 1990]
    • Wall Street Journal
  12. The biggest battle in Monsters vs. Aliens is banality vs. originality, and banality carries the day.
  13. Remember "The Flight of the Phoenix," the movie about the misshapen plane, built from scavenged parts, that flies its builders to safety? Music and Lyrics is like that plane, up to a point. The plot is misshapen, the pieces are scavenged and nothing quite fits. The film does manage to take off, albeit barely, then flits around cheerfully in search of coherence, but finally crashes and fizzles.
    • Wall Street Journal
  14. The story wanders unconvincingly and tediously into corporate law offices and big, splashy nightclubs. Still, Mr. Hackford has the documentary maker's eye for realistic detail, so it all looks right. [01 Mar 1984]
    • Wall Street Journal
  15. The movie's real locus of anger must have been the director, Ang Lee, once he realized what an epic clod his computer wizards had wrought.
    • Wall Street Journal
  16. I'm sorry to report that Biyi Bandele's would-be saga, based on the celebrated novel by Chimamanda Ngozie Adichie, is disappointing, a romance pastiche that muddles the politics of the period beyond comprehension.
  17. Nolan’s 168-minute odyssey through the space-time continuum is stuffed with stuff of bewildering wrongness. Eager for grandeur, I went in hoping for the very best from a filmmaker with his own vision of the theatrical medium’s potential. The last thing I expected was a space adventure burdened by turgid discussions of abstruse physics, a wavering tone, visual effects of variable quality and a time-traveling structure that turns on bloodless abstractions.
  18. It's a movie at war with itself. The first half, more or less, is witty about California culture, or the lack of it, in a "Clueless" kind of way, which is a very good way.
    • Wall Street Journal
  19. This new feature, though, sets up a dialectic between reason and faith and argues it insistently, with eye-rolling earnestness.
  20. The result is heavy and humorless, despite a smart, skillful performance by Brooke Smith.
    • Wall Street Journal
  21. This is filmmaking by the numbers meant to succeed by the numbers.
  22. In contrast to the series, which was quick-witted, fast-paced and self-ironic -- oh, and sexy -- the movie is earnest, often aimless (couldn't anyone cook up a plot?), visually bland (except for the fashion shows) and, at two minutes short of 2½ hours, a decreasingly amiable meander.
  23. The island locale rings with reggae music regardless of its proximity to Jamaica, and any action sequence is rendered in painfully deliberate slo-mo.
  24. What's not fine is the dead zone occupied by the monster of the piece, Tom Cruise's veteran rocker, Stacee Jaxx.
  25. For all its seriousness, though, Levity struck me as pretentious and intractably lifeless.
    • Wall Street Journal
  26. The essence of Youth Without Youth, which was shot -- luminously -- in Romania, lies in its solemn speculations about aging, time and consciousness. Mr. Coppola is one of the cinema's peerless masters, and I would have enjoyed nothing more than a chance to celebrate his new film. I'm truly sorry to say, then, that I found it impenetrable.
  27. If this death-obsessed drama is a classic, then give me potboiling life.
    • Wall Street Journal
  28. Ms. Berry works hard in her role, generating some excitement in the course of her distress. But the story's convolutions can't cover a deficit of substance, or sense.
    • Wall Street Journal

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