Wall Street Journal's Scores

  • Movies
  • TV
For 2,139 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 House of Flying Daggers
Lowest review score: 0 An American Affair
Score distribution:
2,139 movie reviews
  1. The Producers is nightmarish, in its febrile way, a head-bangingly primitive version of an overrated Broadway show that grew out of a clumsy 1968 movie with an inflated reputation.
    • Wall Street Journal
  2. Even as a visual aid, though, The Da Vinci Code is a deep-dyed disappointment. Paris by night never looked murkier.
    • Wall Street Journal
  3. A deeply dreadful movie -- no, a shallowly dreadful movie -- that's too unpleasant and repetitive to be entertaining, even as camp.
    • Wall Street Journal
  4. It's not a good sign when a movie is called The Break-Up and you can't wait for the couple to split so they'll get some relief from one another, and give the audience some relief from them.
    • Wall Street Journal
  5. There isn't a milliliter of honest feeling from start to finish, and precious little comedy or romance.
    • Wall Street Journal
  6. Calling Joe Carnahan's movie heartless implies that this auteur of affectless anarchy might have meant to invest it with detectable human feelings, and failed. Better to call it heart-free.
    • Wall Street Journal
  7. The oddest thing about this very odd movie is that it doesn't seem to know what to make of itself.
    • Wall Street Journal
  8. Don't bother to see this film unless you expect to be tested in film class about the Coens' serial dissertation on American cinema. [10 Mar 1994, p.A16]
    • Wall Street Journal
  9. Not to put too fine a point on it, Surviving Picasso is merely the worst movie ever made about a painter; worse movies have been made on other subjects, though none comes immediately to mind. [20 Sep 1996]
    • Wall Street Journal
  10. Mr. Scott's idea of making movies is to bludgeon or deafen his audience with every scene. In another line of work he'd be certifiable. [16 Aug 1996, p.A8]
    • Wall Street Journal
  11. The Loss of Sexual Innocence is a work of intransigent anger and barely relieved depression. [28 May 1999]
    • Wall Street Journal
  12. Maybe the worst part (there's so much to choose from) is the sight of a good actor like Edward Herrmann parading around looking like a demented quarterback, the shoulders of his suit jacket grotesquely padded. Mr. Schumacher has dressed the adorable Corey Haim in even weirder getups, jackets with pastel stripes and little outfits that resemble dresses. The vampires aren't nearly as creepy as those clothes. [6 Aug 1987, p.1]
    • Wall Street Journal
  13. This is movie-making by and for dummies, a sappy little bible story, blissed out on its own ineptitude.
  14. A deadly earnest and deadly dull psychological thriller.
  15. Bee Movie isn't a B movie, it's a Z movie, as in dizmal.
  16. You could make a case for this as a feature-film version of the FCC's fairness doctrine, but it feels more like a blandness doctrine, a pulling and hauling of the tone-deaf script, which is credited to Matthew Michael Carnahan, to the point of perfect vacuousness.
  17. The kindest context in which to put Over Her Dead Body, which was written and directed by Jeff Lowell, is that of a training film, a public display of people trying to master their craft. The best way to see it is not at all.
    • 24 Metascore
    • 20 Critic Score
    The crude, sophomoric Sex and Death 101 is neither particularly dark nor even remotely funny.
  18. Consider this more a consumer warning than a movie review: The Life Before Her Eyes will draw you in, then intrigue you, then bore you, then bewilder you, then make you crazy with its incessant flashbacks and flash forwards, and finally leave you feeling like the victim of a fraud.
  19. Sorry excuse for political satire.
  20. The best news about this clangorous clunker is that it may well have vanquished the Mummy franchise.
  21. Elegance isn't Zack Snyder's bag; a certain sort of impact is. Watchmen establishes him as Hollywood's reigning master of psychic suffocation.
  22. This time he (Martin) goes through the motions.
  23. Motion is in copious supply -- a frenzied shootout at Manhattan's Guggenheim Museum grows interminable -- but the workings of the abstract plot are unfathomable, the characters are unpleasant and a couple of assassinations leave us as cold as the corpses.
    • 28 Metascore
    • 20 Critic Score
    If the movie had even a moment of freshness or wit, one honest laugh. It doesn't--and that's the ugly truth.
  24. A bizarre conflation of chick flick and "A Christmas Carol."
  25. Amelia Earhart is still missing.
    • 35 Metascore
    • 20 Critic Score
    We are meant to think they are all delightfully and amusingly eccentric (characters). Actually, they're just creepy
  26. This sad excuse for family entertainment tries to enshrine a classic while defacing it.
  27. Extraordinary Measures requires extraordinary tolerance for bathos, bombast and plain old unpleasantness.

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