Wall Street Journal's Scores

  • Movies
  • TV
For 2,554 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 2.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Atonement
Lowest review score: 0 Land of the Lost
Score distribution:
2554 movie reviews
    • 44 Metascore
    • 60 Critic Score
    Amusing enough, especially with its uniquely credible premise of a media fraud, to recommend.
    • Wall Street Journal
  1. Absurdist, but also condescending and self-infatuated; The Royal Tenenbaums is at least three times too clever for its own good.
    • Wall Street Journal
    • 68 Metascore
    • 60 Critic Score
    The effect is a haunting vision of neediness, age and rejection.
    • Wall Street Journal
  2. To give the film its full due, the people who made it — the writer, John Swetnam, and the director, Steven Quale — got wind of a genuine trend and ran with it. Everyone on screen is busy filming everyone else. It's a shakier-camera version of "The Blair Witch Project" in the era of YouTube.
  3. It looks so stylish that thinking about its plot is strictly optional.
  4. For all of the care and imagination that have been lavished on the production, which was designed by Arthur Max and photographed by Dariusz Wolski, the film’s impact is best expressed by frequent aerial shots that are visually impressive and emotionally remote.
  5. Mr. Nichols decided to preserve the jokiness of the original material, even while shifting the emphasis to the mother-daughter conflict. There may have been a way to do this and end up with a clever movie, but Mr. Nichols seems to have had an even cleverer idea: He decided to use this movie as a way to pay back social obligations. [13 Sep 1990, p.A14]
    • Wall Street Journal
  6. To make silk purses from turgid passages, Mr. Scott does what he always does, gooses them up with every trick in the big-budget book.
    • Wall Street Journal
    • 71 Metascore
    • 60 Critic Score
    Director David Yates, who is new to the Potter franchise, moves the story along briskly, at the expense of texture and nuance.
  7. Mr. LaBute is not a moralizer as much as a lamenter — his people usually bring unhappiness upon themselves. In the gently joyous Dirty Weekend, though, they are capable of finding a flight path to contentment.
  8. The ghost story gets to be silly, and wants to have it both ways, as ghost stories often do, on the question of whether various signs from beyond the grave are real or imagined.... Yet Ms. Stewart’s portrayal has the ring of truth and the urgency of terror.
  9. A very short and cheerfully scruffy comedy-thriller.
  10. While the movie is dreadfully clumsy or sentimental around the edges, there's no denying the strength of Mr. Gibson's performance or the power of the savage combat, a 90-minute sequence that's even more graphic than the horrific firefight in Somalia in "Black Hawk Down."
    • Wall Street Journal
  11. Does the film add up to something more than a stunt? Maybe not. I was captivated by the several hours I recently saw of Christian Marclay's 24-hour-long "The Clock," a video mashup in which thousands of clips from hundred of movies contain watches and clocks telling the same time that spectators can read on their wrists. Life in a Day doesn't aspire to such intricacy, but it's fascinating all the same, an electronic update of Alexander Pope's maxim that the proper study of mankind is man.
  12. Mr. Murray gives a fascinating performance, even though his FDR was conceived and written as a fairly small guy at the center of a small film that, for all its considerable charm, miniaturizes its hero in the process of humanizing him.
  13. Adam succeeds at getting inside its hero's mind and, more impressively still, gives us entrée to his singular soul.
  14. One's confidence in factuality is weakened by a cliché-ridden narrative that reads Ma di Tau's mind during her buffalo hunt, and by incessant manipulation of the imagery-not only the use and abuse of slo-mo, but digital enhancement of colors in concert with an almost obsessive concentration on stalking and killing.
  15. Has density enough for several films. What's missing is spontaneity, and variety. And, throughout most of the narrative, velocity.
    • Wall Street Journal
  16. I do wish Mr. Robbins's one-note co-stars had been worthy of his performance, and that some of the melodramatics hadn't been quite so slapdash.
    • Wall Street Journal
  17. Somewhat sluggish but reasonably scary.
    • Wall Street Journal
  18. One of the brighter aspects of Life of Crime, which otherwise ambles along good naturedly, is the casting.
  19. The movie is much too long, but mostly, and sometimes very, entertaining.
    • Wall Street Journal
  20. Mr. Keaton’s performance is fascinating from beginning to end, and the movie around him is entertaining in fits and starts. Ultimately, though, it’s a tough sell, a biopic with an uncertain tone that doesn’t know what to make of its subject.
  21. You may see The Orphanage for what it is, an enjoyable contraption, without believing a bit of it.
  22. What's wrong with this picture? Nothing, as long as you don't expect more than a tossed-off goof.
    • Wall Street Journal
  23. It's not a great film, but there's something to be said for a cool-button treatment of a hot-button issue.
    • Wall Street Journal
  24. It's "My Dinner With Andre" for the relationship generation.
    • Wall Street Journal
  25. It isn't a great film, or even a greatly original one. Still, it has many grace notes, and interesting oddities.
  26. The idea goes only so far--roughly halfway through the 98-minute running time--in staining narrative clarity. Daybreakers finally comes up with some comments on the predatory practices of Big Pharma, but that's an awful comedown from the blood-rushing brilliance of the early scenes.
  27. Yossi spends much of its 84 minutes with a passive hero. This older Yossi is a vestige of the man he once was, an overweight and hollow-eyed vestige who drags himself through his daily rounds and solitary nights. Mr. Knoller's performance is admirable, and Yossi does find new reasons to embrace life. But his rebirth comes only after a very long requiem.

Top Trailers