Wall Street Journal's Scores

  • Movies
  • TV
For 2,572 reviews, this publication has graded:
  • 42% higher than the average critic
  • 2% same as the average critic
  • 56% lower than the average critic
On average, this publication grades 2.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Unstoppable
Lowest review score: 0 Superbabies: Baby Geniuses 2
Score distribution:
2572 movie reviews
  1. 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
  2. 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.
  3. 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
  4. 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.
  5. 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
  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. 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
  8. The computer-generated monsters, like the film as a whole, are numbingly repetitive, and devoid of any power to move, scare or stir us.
  9. 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.
  10. Sorry excuse for political satire.
  11. Horns is uncertain in tone — most of its attempts at humor fall flat — and amateurish at best.
  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. 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
  14. Adam Sandler's 50 First Dates isn't just slovenly and smarmy but creepy.
    • Wall Street Journal
  15. 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.
  16. How do I count the ways this movie goes wrong?
  17. 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
  18. 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.
  19. 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
  20. 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.
  21. 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?
  22. This satire, directed by David Gordon Green from a screenplay by Peter Straughan, suffers from deficits of wit, wisdom, focus, filmmaking expertise and appropriate tone. It’s a case study, if nothing else, of starting with a dubious idea and making it downright awful.
  23. A deeply dreadful movie -- no, a shallowly dreadful movie -- that's too unpleasant and repetitive to be entertaining, even as camp.
    • Wall Street Journal
  24. After seeing The Shack — after enduring, that is, its 132 minutes of blissed-out New Age religiosity — I’ve become a believer. I believe there is no role Octavia Spencer can’t play with convincing feeling and an impeccably straight face.
  25. This one, a debut feature, is awfully inept, whereas the short isn’t long enough for ineptitude to take hold, or for a story to develop.
  26. 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
  27. 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
  28. 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.
  29. 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

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