Wall Street Journal's Scores

  • Movies
  • TV
For 2,244 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 Lars and the Real Girl
Lowest review score: 0 Because I Said So
Score distribution:
2,244 movie reviews
  1. By the end I could have used a Bulleit to the mouth.
  2. The director's apparent blindness to the epic banality of her subjects suggests that the whole project is one royally misguided mess.
  3. 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
  4. A gothic thriller called Cold Creek Manor extrudes an 80-minute idea -- I may be overgenerous here -- into 118 minutes that feel like an eternity.
    • Wall Street Journal
  5. This sad excuse for family entertainment tries to enshrine a classic while defacing it.
  6. This time he (Martin) goes through the motions.
    • 29 Metascore
    • 20 Critic Score
    Well, incredibly stupid is certainly what is delivered to audiences.
  7. Sometime around what I guessed to be the one-hour mark in The Five-Year Engagement, I checked my watch and honestly thought the battery had given out. Five years doesn't begin to tell the interminable tale.
  8. Relevance can't rescue this would-be epic from the swamps of inertia, absurdity and sentimentality.
    • Wall Street Journal
    • 35 Metascore
    • 20 Critic Score
    We are meant to think they are all delightfully and amusingly eccentric (characters). Actually, they're just creepy
  9. Instead of biting wit, though, the movie settles for sketch humor, standard-brand raunch and toothless slapstick that trivializes everything it touches.
  10. A sudsless soap opera with human misery as a backdrop for romantic banality.
    • Wall Street Journal
  11. Ride Along, set in Atlanta, gives shoddiness a bad name.
  12. Extraordinary Measures requires extraordinary tolerance for bathos, bombast and plain old unpleasantness.
  13. Gets to be dislikable in its glib feelgoodness. The movie's many excellent actors do too much acting with too little conviction in scenes that rush through perfunctory setups to deliver pat payoffs.
    • Wall Street Journal
  14. Do not attempt to see this film, derived loosely from the videogame of the same name, unless you're prepared for wobbly writing, lead-footed direction and acting that must have been boosted by nitrous-oxide injectors, plus a starring performance that could have used a boost and didn't get one.
  15. Most of the prime goofiness is given over to Vassili and Konig sharpshooting at each other while the battle rages. The movie's a red elephant.
    • Wall Street Journal
  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. 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
  18. 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
  19. Only Le Carre fans with tin ears and clouded eyes will fail to note the film's sour tone, crude performances and drab look.
    • Wall Street Journal
  20. As juxtapositions go, regressed Goth rock star and Holocaust could hardly be more bizarre, and bizarre can be good when it's done deftly. In this case, however, it's done ponderously and sententiously.
  21. Sorry excuse for political satire.
  22. Horns is uncertain in tone — most of its attempts at humor fall flat — and amateurish at best.
  23. 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
  24. 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
  25. Adam Sandler's 50 First Dates isn't just slovenly and smarmy but creepy.
    • Wall Street Journal
  26. 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.
  27. How do I count the ways this movie goes wrong?

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