Wall Street Journal's Scores

  • Movies
  • TV
For 2,162 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 2.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Lincoln
Lowest review score: 0 Flipped
Score distribution:
2,162 movie reviews
  1. But clever casting, and inspirational dieting, can't make up for this poor little rich girl's shortcomings as a comedienne. Under Mr. Benjamin's vulgar tutelage, she portrays Connie's coarseness coarsely, with an accent that seems to have come from Ida Lupino by way of Madonna. [19 Apr 1996, p.A11]
    • Wall Street Journal
  2. Since Mary rarely gets to see any of the good stuff, neither do we; Dr. Jekyll hides most of his switcheroos behind closed doors. [23 Feb 1996]
    • Wall Street Journal
  3. The failures of White Squall are dismaying as well as perplexing. Director Ridley Scott serves up some ravishing images along the way: the stark geometry of the ship's riggings against an azure sky, crew kids scampering along a verdant ridge toward a volcano's silvery crater lake. But the script is a shambles. [06 Feb 1996]
    • Wall Street Journal
  4. I didn't mind the preposterousness of the premise nearly so much as the general ineptness with which it's presented. After all, good trash has its place. [8 Dec 1994, p.A16]
    • Wall Street Journal
  5. The makers of Return to Oz say that their rather bleak, nonmusical fantasy is more faithful to Mr. Baum's vision than "The Wizard of Oz" was. What's appropriate, however, isn't always what's right. All Ms. Balk can do is look earnest and young; Ms. Garland opened her mouth and out came Dorothy's soul.
    • Wall Street Journal
    • 25 Metascore
    • 30 Critic Score
    The inert License to Wed shambles along one lame scene after another.
    • 50 Metascore
    • 30 Critic Score
    Tiresome, pretentious.
    • 46 Metascore
    • 30 Critic Score
    So tightly constructed of clichés, stereotypes and chick-lit tropes that it's inert; no fresh air can blow in.
  6. The drama is repetitive rather than resonant, an over-calculated, under-ventilated studio production -- even paranoid thrillers need to breathe -- whose plot machinery grinds grim and coarse.
  7. Katherine Heigl carries 27 Dresses when all else fails, which it does with great regularity.
  8. There's no maybe about its standing as romantic comedy -- definitely bad.
  9. Penelope was in a trough of trouble before the oink on the script was dry.
  10. A bizarre, overcooked broth that combines a broad sitcom style (the banter goes rat-tat-tat like a steam drill) with a preposterous succession of plot complications, plus solemn questions of identity, adoption and the nature of happiness.
  11. Rather than the laugh a minute promised by old comedies, Get Smart generates approximately one laugh per hour, and I can't remember either one.
    • 35 Metascore
    • 30 Critic Score
    Clone Wars will appeal only to the most tolerant, galactically minded children and their parents.
    • 55 Metascore
    • 30 Critic Score
    Unfortunately, Ms. Faris has neither an adroit script -- House Bunny is a stale collection of dumb bunny jokes -- nor Ms. Witherspoon's wily charm. And the filmmakers do Ms. Faris no favors by inviting comparisons to Marilyn Monroe.
  12. Less than the sum of its parts, which were problematic to begin with.
  13. J. Michael Straczynski's disjointed script manages to ring false at almost every significant turn (Collins' psychiatric-hospital stay has grown into a latter-day version of "The Snake Pit") and Clint Eastwood's ponderous direction -- a disheartening departure from his sure touch in "Letters From Iwo Jima" and "The Bridges of Madison County" -- magnifies the flaws.
  14. It's really dumb, even though it starts promisingly and continues, in a self-infatuated way, to consider itself quite bright.
  15. You'd have to be made of granite to resist all the charms of a free-spirited, 100-pound Lab. Yet the production manages, against heavy odds, to make its canine star an incorrigible bore.
  16. No cues are needed to understand the plot, which feels computer-generated and barely serves to sustain an hour and a half running time.
  17. The production renders totally irrelevant all hopes for a well-made movie. It's one of those ragged, pandemonious studio comedies that hammers at plot points in every contrived scene.
  18. Operates in a dead zone roughly equidistant between parody and idiocy. You do get the connection between tongue and cheek, but much of the humor still goes thud.
  19. Ms. Macdonald works modest wonders within these constraints -- she's a lovely actress, and a skilled one -- but too much is asked of her; Kate's innocence finally wilts beneath the camera's fixed gaze.
  20. 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.
  21. This Transformers is a pile of glittering junk.
  22. Why is she (Bullock) demeaning herself with such shoddy goods? She’s a talented woman with a faithful following. She has made formula films of varying quality before, and her fans may well swallow this one, but it’s a formula for disappointment laced with dismay.
  23. The movie on the whole is joyless. Whatever Works doesn’t.
  24. In the spirit of that world, I cannot tell a lie: The Invention of Lying, which the English comedian both directed and wrote with Matthew Robinson, soon loses altitude and eventually falls flat.
  25. 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?

Top Trailers