Wall Street Journal's Scores

  • Movies
  • TV
For 2,239 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 The Hurt Locker
Lowest review score: 0 Henry Fool
Score distribution:
2,239 movie reviews
  1. Go in with lowered expectations, and expect to have them dashed.
    • Wall Street Journal
  2. 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
  3. Mr. Gooding is out there in almost every scene, and the destruction of his once-promising career proceeds apace.
    • Wall Street Journal
  4. 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.
  5. The movie stands as a genuine offense against the venerable and indispensable institution of satire.
    • Wall Street Journal
  6. No cues are needed to understand the plot, which feels computer-generated and barely serves to sustain an hour and a half running time.
  7. Costner has never been further from the lively, engaging actor he can be, or at least once was.
    • Wall Street Journal
  8. 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.
  9. 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.
  10. 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.
  11. 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
  12. There's no transcending a prosaic plot and several flat performances.
    • Wall Street Journal
  13. If glum were good and bleak were best, Hart's War would be a standout.
    • Wall Street Journal
  14. 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
  15. 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
  16. 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?
  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. Stinker doesn't begin to describe this movie's character -- both frenzied and dispiriting.
    • Wall Street Journal
  19. 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.
  20. Oz the Great and Powerful, like so many products of movie studios that have lost their way, is a Tin Man of epic proportions — bright and shiny, with no heart.
  21. There's no zest to the general depravity, no coherence to the script or the spectacle -- clarity is missing in some of the camera work -- and, most important, no character to give a Greek fig about.
    • Wall Street Journal
  22. The movie transforms a dim idea - "Elmer Gantry" lite - into comedy that's dead in the water and as dull as it is broad.
  23. The performances, under Mike Newell's direction, range from conventional (Ms. Roberts) to dreadful, and the script is as shallow as an old Cosmo cover story.
    • Wall Street Journal
  24. Mr. Li is a master not only of martial arts, but of composure; no one does nothing better. The film itself is no great shakes.
    • Wall Street Journal
  25. Pathetically unfunny most of the time.
  26. This new Alfie is earnest -- irony is so last century -- and not angry at all, since working-class anger would mean nothing here, because class means nothing here. Nothing means anything here.
    • Wall Street Journal
  27. I can't find much slack to cut the film, except to say that it's a potboiler cooked in an upscale Teflon pot.
    • Wall Street Journal
  28. Starts well with the stirring spectacle of young men and women, members of a National Guard unit stationed south of Baghdad, struggling to do their duty in an alien land of unfathomable danger. Once they return, however, wounded physically or shattered spiritually, the film turns didactic, contrived and occasionally ludicrous.
    • Wall Street Journal
  29. Ordinary moviegoers, on the other hand, may wonder what they're supposed to feel, apart from bored.
    • Wall Street Journal
  30. Meryl Streep as Margaret Thatcher is the main reason to see The Iron Lady, which was directed by Phyllida Lloyd - not just the main reason but the raison d'être of an otherwise misconceived movie.

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