Wall Street Journal's Scores

  • Movies
  • TV
For 2,623 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 2.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Animal Kingdom
Lowest review score: 0 Youth
Score distribution:
2623 movie reviews
  1. Another is how the film manages, in the absence of a coherent plot, to be so funny and engaging until, somewhere around the midpoint, it goes as flat as a stepped-on creepy-crawly.
  2. The movie's real star is the cinematographer, Elliot Davis -- his images carry more emotional freight than all the performances put together.
    • Wall Street Journal
  3. It's thanks to her (Leoni) that we stay tuned to Mr. Allen's comic premise long after it has gone from delightfully outrageous to off-puttingly preposterous.
    • Wall Street Journal
  4. Mr. Nixey is doing an Alfred Hitchcock homage within a movie lacking anything as subversive, or skilled, as Hitchcock.
  5. It’s billionaire-glossy, as much an ode to consumerism as a study in sadomasochism; intermittingly titillating, with fugitive flashes of droll; and, bondage apart, a dutifully romantic tale of an old-fashioned girl who takes a particularly roundabout route to true love.
  6. In case you were holding your breath, Renée Zellweger's Bridget Jones is still sweetly earnest, chronically overweight and swinging once again from lovestruck to lovelorn.
    • Wall Street Journal
    • 55 Metascore
    • 50 Critic Score
    Despite being a pretty film with some good performances, it's hard to sympathize with a character that won't help herself. More proof, if we need it, that mixing sex and politics only leads to trouble.
    • Wall Street Journal
  7. World Trade Center shows us many things we already know, though with impressive flair, then plunges underground for an unconvincing drama based on a multitude of facts. It's upbeat, all right, but badly off kilter.
    • Wall Street Journal
  8. Very funny and surprisingly likable until it goes Hollywood.
    • Wall Street Journal
  9. The violence wears you down. Like one of its nutso characters, Seven Psychopaths has a death wish.
  10. Mr. Firth gives his all, and then some. He’s very funny, even touching, when the material allows him to be. Yet the production, directed by Matthew Vaughn (“Kick-Ass,” “X-Men: First Class”) from a screenplay he wrote with Jane Goldman, can’t contain its centrifugal force.
  11. Pleasing moments don't add up to a feature film, even though this one strives desperately for substance and coherence by slathering its slender story with treacly family values.
  12. Mr. Coogan, lavishly talented as a comic, and a comic actor, is fairly monotonous in the mostly serious role he wrote for himself. That leaves Ms. Dench to carry the picture, which she does, up to a point, with her usual delicacy and grace.
    • 71 Metascore
    • 50 Critic Score
    Like a dinner whose hors d'oeuvres are far more satisfying and well-composed than the slightly warmed-over main course. Among them are the inspired mock movie trailers and the fake ad that precede "Thunder's" opening credits.
  13. Like "Transformers," which it rivals in relentlessness, Battleship comes with its own force field, a furious energy that renders criticism irrelevant.
  14. The main — and for my money only — attraction in Le Week-End, which was directed by Roger Michell, is the marvelous Scottish actress Lindsay Duncan. She is witty, fiercely intelligent and intensely sexy in the role of Meg, a woman stuck in a failing marriage.
  15. The film is enjoyable enough, at least for young children.
    • Wall Street Journal
  16. Declarative sentences are as scarce as detectable feelings in this stylish, emptyish thriller -- it's Tarantino with the vital juices left out.
    • Wall Street Journal
    • 62 Metascore
    • 50 Critic Score
    A scattershot, repetitive documentary about the creative minds ­behind some of the most arresting ad campaigns of the past 40 years.
  17. Fur starts stylishly, and confidently, but the film dwindles down to a chamber piece in a claustrophobic chamber. Enter at your own risk.
    • Wall Street Journal
  18. The star of this fantasy adventure for young audiences is a charmer from the moment she is hatched (from a huge blue egg that starts to rock like a Mexican jumping bean). Her name is Saphira, she speaks with the voice of Rachel Weisz, and it doesn't matter that she's too young to breathe fire -- at first -- or that she waddles a bit on the ground, because she lives and breathes the joy of flight, which is exactly what was missing from most of Harry Potter's solos on a broom.
    • Wall Street Journal
    • 64 Metascore
    • 50 Critic Score
    Both in its content and production values, Interview has the feel of an undergraduate project -- all intensity, no never mind. Pierre is such a weasel, Katya is such a narcissist and the outcome seems so pre-determined, it's hard to care whose belt gets the notch. The adroit performances of Buscemi and Miller almost make it matter.
    • 45 Metascore
    • 50 Critic Score
    Ms. Wood, who made a potent impression two years ago as a naïve adolescent led astray by a sophisticated and psychotic classmate in "Thirteen," has the whip hand this time around -- and she's wonderfully persuasive. She needs a movie to match.
    • Wall Street Journal
  19. After two flat-out triumphs in a row, "All About My Mother" in 1999 and last year's breathtaking "Talk To Her," Pedro Almodóvar hasn't done it again. Yet lesser Almodóvar -- in this instance "Bad Education" -- is better than most of the movies we see.
    • Wall Street Journal
  20. If only the showmanship were equal to the scholarship. As beautiful as the film is (despite notable variations in the quality of the cinematography), it is also sluggish, underdramatized after that initial suspense, and for the most part emotionally remote.
    • Wall Street Journal
  21. It's a lovely pretext for dazzling visuals, yet the production is diminished by the clumsiness of an 8-bit script.
  22. Pretty bad, and pretty funny.
    • Wall Street Journal
  23. The narrative engine leaves the rails when Irving, like Hughes, plunges into paranoia (though Irving actually is the object of a high-level plot) and the style turns to the sort of intensely manipulated surrealism that Charlie Kaufman practiced, not successfully, in "Confessions of a Dangerous Mind."
    • Wall Street Journal
    • 63 Metascore
    • 50 Critic Score
    Without Johnny Depp and Geoffrey Rush, who play two rival pirate captains, "Pirates" might have gone straight to video. The two are a pleasure to watch, rescuing an otherwise forgettable film.
    • Wall Street Journal
  24. Impressive landscapes, plus Kristen Wiig's appealing Cheryl, the fellow worker who inflames Walter's passion, make the movie enjoyable enough. Yet its style is a constant bafflement.

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