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 2.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Pan's Labyrinth
Lowest review score: 0 Wild Hogs
Score distribution:
2,252 movie reviews
  1. The only thing Mr. Tarantino spells out is the violence. I have seen much more blood spilled, yet I felt sickened by the coldness of this picture's visual cruelty. [29 Oct 1992, p.A11(E)]
    • Wall Street Journal
  2. Feelings play second fiddle to stylized attitudes in Spartan, and fancy style can't conceal the film's clumsiness.
    • Wall Street Journal
  3. Mr. Braff's idea of self-discovery is my idea of narcissism.
    • Wall Street Journal
  4. This is an odd and ultimately dispiriting film, despite some intriguing ideas about brute force vs. moral authority, the elaborately staged uprising -- and impressive actors in the cast. That is to say, they've been impressive elsewhere.
    • Wall Street Journal
  5. Little more than a showcase for Owen Wilson's amiable shtick, and a showcase in the merchandising sense of the term.
    • Wall Street Journal
  6. The situation in The Situation is grimly photogenic, yet persistently opaque.
    • Wall Street Journal
  7. Like many dreams that enliven filmmakers' nights, this one derives from other, better films, though it does have a few clever twists.
    • Wall Street Journal
  8. Spontaneity has been banished by rigid stylization, and the net effect is as lifeless as a severed head that turns up in a basement freezer.
  9. This time, though, the happy ending plays out in real life, while the screen version falls afoul of a laggardly pace, an earnest tone and a surfeit of domesticity.
  10. This latest iteration of the Tolstoy classic was clearly the product of audacious thinking, stylishly applied. Still, the thinking was as wrongheaded as it was hollow-hearted. Yet another elaborate production chases its audience away.
  11. The movie commits the sin of boredom, partly because Ms. Martin is exceedingly inexpressive.
  12. I've enjoyed Ms. Leoni's comic gifts in the past, and I'll enjoy them again, but Spanglish asks her to play crazed, and she delivers with a performance of unremitting, crazymaking shrillness.
    • Wall Street Journal
  13. The movie is pleasant enough, in its studied way, and Mr. Hopkins does as well as anyone could in the role of a wise man with vaguely supernatural powers. Still, it's awfully amorphous and pokey.
    • Wall Street Journal
  14. Any movie that gives Helen Mirren a chance to shoot really big guns, wear an ermine astrakhan and channel Bette Davis as Queen Elizabeth can't be all bad, and Red 2 isn't, though it comes close.
  15. A remarkably ill-advised remake.
    • Wall Street Journal
  16. The only reason to see it is Riz Ahmed's performance as Omar, the supposed brains of the operation. Mr. Ahmed reminded me a bit of Robert Carlyle. He's dynamic, quick-tongued and intense. And much too classy for this tatty room.
  17. Depressed and depressing drama.
    • Wall Street Journal
  18. Men, Women & Children touches many nerves, but then pinches and twists them with its ham-handed approach to social commentary. I worry about Mr. Reitman, a filmmaker of consequence who is still too young to be so cosmic. Time to lighten up and come back down to Earth.
  19. The denizens of Judd Apatow’s Funny People have been pulled every which way to fit a misshapen concept, yet they remain painfully unfunny, and consistently off-putting.
  20. The basic problem is the script, which is credited to three writers plus the director - seldom a good sign. Never mind that it's a retread of "Planes, Trains & Automobiles" minus the trains, and minus John Candy.
  21. Not a pretty sight, any of it.
    • Wall Street Journal
  22. If you go to see this sloppy sitcom, in which Mr. Martin plays a divorced, repressed lawyer named Peter Sanderson, do expect to be surprised, seduced and entertained by Queen Latifah.
    • Wall Street Journal
  23. What do the Coen brothers want of us? More specifically, what do they want us to think of the repellent people in this pitilessly bleak movie?
  24. Mr. Statham, the specialist in English tough guys who was so affecting in "The Bank Job," has more to offer than The Mechanic has the grace to receive.
  25. Ms. Wynter's performance is only one of many failings in a heavily accented costume drama that Bruce Beresford has directed turgidly from Marilyn Levy's amateurish script.
    • Wall Street Journal
  26. The video-game sequences are impressive, but you know that a 'toon is in big trouble when its most powerful theme is planned obsolescence.
    • Wall Street Journal
  27. You're tempted to keep watching, even though the running time is a bloated 154 minutes, to see if anyone, or the movie itself, turns remotely likable. The answer to that, alas, is no.
  28. The movie on the whole is joyless. Whatever Works doesn’t.
  29. In a movie that rings false at every turn, Ms. Redgrave's Elizabeth is truly and infallibly regal.
  30. I feel for the marketing person charged with devising a tagline for Darren Aronofsky's The Fountain, a fantasy whose turgid pretensions defy the very notion of marketing.
    • Wall Street Journal

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