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 The Ghost Writer
Lowest review score: 0 Ferris Bueller's Day Off
Score distribution:
2,252 movie reviews
  1. Johnny Depp's Tonto wears a dead crow on his head in The Lone Ranger. The star himself carries a dead movie on his shoulders.
  2. Mr. Jarecki undercuts his own case -- not just undercuts but carpet-bombs it -- by using the same propaganda techniques he professes to abhor.
    • Wall Street Journal
  3. Edge of Darkness was one of the most enthralling, intricate and genuinely thrilling productions in the history of the small screen. The big-screen version--directed by Martin Campbell, who did the original--offers an example of why the studios' numbers often add up, and why, at the same time, so many of today's Hollywood movies leave us cool if not downright cold.
  4. Another dim adaptation of a bright comic novel.
    • Wall Street Journal
  5. Adam Green's Frozen explores a tiny idea exhaustively, and I mean exhaustively.
  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. In addition to all else, and it's a lot, The Losers wastes the riches of Hollywood technology in hot pursuit of nothing.
  8. The story is rooted in a political past that never comes to life, and its structure is so cockeyed that we don't even get to see Nick's reaction to a climactic surprise that takes place off-screen. The film was shot by an excellent cinematographer, Adriano Goldman, though you'd never know it from the lighting, which is as flat as the writing.
  9. Katherine Heigl carries 27 Dresses when all else fails, which it does with great regularity.
  10. A train wreck of mind-numbing proportions.
    • Wall Street Journal
  11. As an experiment in Academy Award psychology, Albert Nobbs is fascinating. As drama? It is, forgive us, a drag.
  12. The movie's leisurely, elegant setup makes its action payoff seem, by contrast, particularly mechanical, cynical and grotesque.
    • Wall Street Journal
  13. The remake has no grace notes, or grace, no nuance, no humanity, no character quirks, no surprises in the dialogue and no humor.
  14. Go in with lowered expectations, and expect to have them dashed.
    • Wall Street Journal
  15. YEEEEE HAAAAW! They've gone and done it. The feature version of The Dukes Of Hazzard turns a sow's ear into a bigger sow's ear.
    • Wall Street Journal
  16. Mr. Gooding is out there in almost every scene, and the destruction of his once-promising career proceeds apace.
    • Wall Street Journal
  17. The movie's failures are all the more unfortunate because they detract from its central and conspicuous success, the performance of Riz Ahmed in the title role. Mr. Ahmed turns the quicksilver quality of the book's internal monologue into a tour de force of his own creation. He's a bright star in a dim constellation.
  18. The movie stands as a genuine offense against the venerable and indispensable institution of satire.
    • Wall Street Journal
  19. No cues are needed to understand the plot, which feels computer-generated and barely serves to sustain an hour and a half running time.
  20. Costner has never been further from the lively, engaging actor he can be, or at least once was.
    • Wall Street Journal
  21. Secretariat stumbles along beneath the weight of leaden life lessons. They're dispensed at frequent intervals by Diane Lane, who does better than anyone had a right to expect, since she is saddled with dialogue of exceptional dreadfulness.
  22. Some of it sputters, settling for smiles instead of laughs, and much of it flounders while the slapdash script searches, at exhausting length, for ever more common denominators in toilet humor.
  23. Either you buy their Vaseline-lensed visions of the hereafter, or you watch in stony silence, as I did, wondering why there's no one to care about.
  24. The worst part of Ms. Zellweger's plight is that she, along with others in the cast, has fallen victim to a first-time feature director whose vocabulary doesn't seem to include the word "simplicity."
    • Wall Street Journal
  25. There's no transcending a prosaic plot and several flat performances.
    • Wall Street Journal
  26. If glum were good and bleak were best, Hart's War would be a standout.
    • Wall Street Journal
  27. Comes on like an overproduced coma, and leaves you comatose by the end. In between are 127 minutes of intermittent chaos that feel like a lifetime.
    • Wall Street Journal
  28. A rube's-eye view of Hollywood, but the rube is weary, and those around him seem to be suffering from terminal torpor.
    • Wall Street Journal
  29. Long after lice from her children's school infested Kate's scalp, I was scratching my head about why a 91-minute movie seemed so long. The answer came from reframing the question. Why was a string of sitcom problems stretched to 91 minutes?
  30. 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.

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