Wall Street Journal's Scores

  • Movies
  • TV
For 2,219 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 2.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Unforgiven
Lowest review score: 0 Step Brothers
Score distribution:
2,219 movie reviews
  1. Sorry excuse for political satire.
  2. Horns is uncertain in tone — most of its attempts at humor fall flat — and amateurish at best.
  3. 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
  4. Everything that was modest, soundly grounded and therefore horrifying about the 1971 rodentarama that starred Bruce Davison is now insistent, Grand-Guignol-intense and therefore shrug-offable when it isn't downright awful.
    • Wall Street Journal
  5. Adam Sandler's 50 First Dates isn't just slovenly and smarmy but creepy.
    • Wall Street Journal
  6. Might have qualified as dumb fun if they hadn't left out the fun.
    • Wall Street Journal
    • 24 Metascore
    • 20 Critic Score
    The crude, sophomoric Sex and Death 101 is neither particularly dark nor even remotely funny.
  7. How do I count the ways this movie goes wrong?
  8. I wish I'd brought a pair of peas to the screening. Then I could have taken in the glorious scenery without the dumb dialogue, which is delivered in a jangle of accents that makes a mockery of ethnicity.
    • Wall Street Journal
  9. J. Edgar, with Leonardo DiCaprio in the title role, is at war with itself, and everyone loses...Mr. Eastwood's ponderous direction, a clumsy script by Dustin Lance Black and ghastly slatherings of old-age makeup all conspire to put the story at an emotional and historical distance. It's a partially animated waxworks.
  10. The best thing about a movie as silly as this is that it makes such modest demands on your attention. As the story unfolded with all the energy of California in a Stage 3 alert, I staved off brain death by trying to imagine an alternate version.
    • Wall Street Journal
  11. The narrative core suffers a conspicuous meltdown, though not before Mr. Mann gets to stage a few impressive action sequences, the best and loudest of which concerns a shootout in a curvilinear tunnel. As for the climax, set against a massive torchlight parade through the streets of Jakarta, it’s very elaborate, and terribly dumb.
  12. The movie will surely find an audience, since it speaks to young people's anxieties about marriage and parenting. But what are two particularly engaging performers doing in a dump of a comedy like this?
  13. A deeply dreadful movie -- no, a shallowly dreadful movie -- that's too unpleasant and repetitive to be entertaining, even as camp.
    • Wall Street Journal
  14. If I could find some facet to praise, I'd be glad to do so, but the production's mediocrity is all-pervasive -- story, character, graphic design, even music -- and it all points to a failure of corporate imagination, or maybe just nerve.
    • Wall Street Journal
  15. Breakfast on Pluto, with an impressive cast that includes Liam Neeson and Brendan Gleeson, deploys its whimsy in many ways, all of them cloying.
    • Wall Street Journal
  16. The movie drills itself into our skulls, which are all too vulnerable to such an assault, though I must say my brain glazed over and my heart turned adamantine while the stupidities of this action thriller played themselves out.
  17. 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
  18. A movie's script is its fate, which means this one is doomed.
    • Wall Street Journal
  19. Amelia Earhart is still missing.
  20. It's bad enough to make parable a four-letter word.
    • Wall Street Journal
    • 36 Metascore
    • 20 Critic Score
    The distance between tawdry and tedious can be amazingly short. It is traveled with Concorde speed in the arch Party Monster.
  21. The last thing we need is entertainment that evokes the horror and then trivializes it with cheesy heroics. Never has a movie taken on a subject of greater immediacy, or handled it more ineptly.
    • Wall Street Journal
  22. Mr. Rock's opening scene is very funny. After that it's a steep downhill slide.
    • Wall Street Journal
  23. What was fresh and surprising in Las Vegas turns rancid and predictable in Bangkok.
  24. Rarely has a major motion picture -- and this one is major by virtue of its misplaced ambition as well as its budget -- been afflicted by such flagrant dissonance between subject and style.
    • Wall Street Journal
  25. Manages to make its live actors sound -- and even sometimes look -- computer generated. This wan, sluggish comedy wouldn't pass muster as a premium-cable original, but here it is on the big screen.
    • Wall Street Journal
  26. Choose to pass this one up.
    • Wall Street Journal
  27. The movie's smugness is insufferable.
    • Wall Street Journal
  28. The oddest thing about this very odd movie is that it doesn't seem to know what to make of itself.
    • Wall Street Journal

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