Wall Street Journal's Scores

  • Movies
  • TV
For 2,255 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 Mother
Lowest review score: 0 Henry Fool
Score distribution:
2,255 movie reviews
  1. 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 Metascore
    • 30 Critic Score
    The inert License to Wed shambles along one lame scene after another.
  2. What a peculiar production this is. Up to a certain point, it really does promise to be romantic.
  3. This is one of those overworked and generally airless comedies with a sitcom premise that can't sustain life.
  4. Palindromes finds him (Solondz) stuck with his single theme inside a sealed dollhouse of his own construction. He has gifts to give a larger audience, if ever he breaks out.
    • Wall Street Journal
  5. Goes down fighting, but it goes down just the same.
    • Wall Street Journal
  6. 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.
  7. 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
  8. The larger problem, transcending all realms, is that this action-adventure sequel from Marvel soon turns so dumb and 3-D-murky that it hurts.
  9. Unforeseeably bad things can happen to good performers.
  10. The blithely dishonest script would have us believe that the real Napoleon can't prove his identity when the fake Napoleon refuses to come clean. Not only is that patent nonsense, it's cockeyed dramaturgy.
    • Wall Street Journal
  11. The crucial evidence has to do with rigor mortis. The movie's a stiff too.
    • Wall Street Journal
  12. N'ever was an apostrophe so misplaced, n'ever was the prospect of good cheer so perversely defeated.
    • Wall Street Journal
  13. 300
    300 presents a dual clash of civilizations. An action adventure that pits thousands of Persians against 300 brave Spartans at the Battle of Thermopylae, it also pits millions of fans of brainless violence against a gallant band, or so I choose to think of us, who still expect movies to contain detectable traces of humanity.
    • Wall Street Journal
  14. For all its video-game bedazzlements, Attack of the Clones suffers from severe digital glut, periodically relieved, if you can call it that, by amateur theatrics.
    • Wall Street Journal
    • 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.
  15. What's missing is an emotional center. This Sinbad, with its flying ship and becalmed script, seems destined to be DreamWorks's version of Disney's "Treasure Planet."
    • Wall Street Journal
  16. Despite all the nervous tension, the central drama is flawed - Jonathan isn't trying to find a killer. He is the killer. Something is lacking in the dramatic equation.
  17. Mr. Samuell's stylistic revelries are meant as comments on the conventions and excesses of movie romance, but his approach is glib and self-congratulatory. No feelings dwell beneath the layers upon layers of faux-naïve artifice. I dare you to sit through this movie and not wish you were somewhere else.
    • Wall Street Journal
  18. The only reason to see this dreary parade of deception and venality is Mark Wahlberg's performance as a disgraced ex-cop caught up in the thick of menacing events he can't understand. It's striking how this tightly focused actor can find his own firmly grounded reality in the falsest of surroundings.
  19. It's dispiriting to see how little attention the filmmakers have paid to the dramatic - read human - possibilities of the original, or how much they've been overwhelmed by technology's demands. It's as though rogue programs took over the production.
  20. Knows that it's junk and tries feebly to rejoice in its junkiness.
    • Wall Street Journal
  21. Nobody doesn't like Tina Fey, and anyone aware of her starring role in Admission will be wishing her well. But wishing won't make this dramedy any less dreary than it is.
  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. There's nothing to be said in favor of sitting through garbage, and this movie is awash in the stuff, both figuratively and literally: One of its main locales is a vast garbage dump.
  24. A grim disappointment for grown-ups, and far too violent for young kids. I found it to be clumsy, misanthropic and intractably lifeless.
    • Wall Street Journal
  25. The story line, a sequence of very loosely connected events, sustains a state of almost pure brainlessness with its indifference to dramatic development and the dictates of logic, even the fantasy logic of cartoons. It’s as if most of the script had been generated by algorithms.
  26. Its tone is unquenchably pretentious, and its scale is overblown.
    • Wall Street Journal
  27. A few clumps of very funny stuff (including a quick tonsorial reference to "Mary") can't hide all the spots that are bald instead of bold.
    • Wall Street Journal
  28. This is little more than a big-budget sitcom, with a guest appearance by Mike Ditka, who plays an unfunny version of himself as Phil's assistant coach.
    • Wall Street Journal

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