Wall Street Journal's Scores

  • Movies
  • TV
For 2,497 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 2.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 All Is Lost
Lowest review score: 0 Land of the Lost
Score distribution:
2497 movie reviews
  1. Sanctum is far from a good movie, just as 3-D is far from the movie industry's savior. But it certainly looks good, and watching it through those plastic glasses reopens your eyes to the promise of the third dimension.
  2. The movie looks lovely, but it's luminous prose.
  3. Terrific performers doing what they're often forced to do, overcoming sorely flawed material.
    • Wall Street Journal
  4. It grows repetitious, both in its account of Crane's ritual behavior and in clumsily written -- and stolidly directed -- scenes between Crane and Carpenter, two men acting out their own unacknowledged sexual drama.
    • Wall Street Journal
  5. Yet most of the film's energy is generated by flamboyant cinematography and music-video cutting, and much of that energy is false.
  6. A good chance to see two superb actors having their way with wafer-thin material.
  7. I might have liked About Adam more if its supposedly irresistible hero -- and the movie itself -- hadn''t been so smirky.
    • Wall Street Journal
  8. "Another Earth" and "Moon" transcended their financial and physical limitations with mystery and ambiguity. Europa Report goes ploddingly where bolder films have gone before.
  9. The perverse fascination of Jet Lag is watching two superb actors struggle with material that doesn't suit them.
    • Wall Street Journal
  10. What Minions does have is abundant if relentless cuteness, which audiences are sure to accept in lieu of content; people love these little guys.
  11. The great strength of Concussion is its star’s performance.
  12. The tone is that of a telenovela -- soap-operatic at heart -- even though the film was adapted from a 19th-century novel.
    • Wall Street Journal
  13. Strangely, though, there isn't enough for one movie, and the first clue to why lurks in the title's ampersand, a sort of linguistic duct tape holding together two stories that never really function as one.
  14. Mr. Douglas's performance in the sequel measures up to Gekko's rep, but the rest of the movie is pumped up to the bursting point with gasbag caricatures, overblown sermons and a semicoherent swirl of events surrounding the economy's recent meltdown.
  15. In the not-so-grand scheme of such things, Along Came Polly is certainly harmless, and occasionally very funny. It's just not clever enough to keep you engaged.
    • Wall Street Journal
  16. Two movies for the price of one, though only one of them-a fragmented romance within a ponderous parable-qualifies as a bargain.
  17. That's one of the puzzles of this piece. You'd think a film with talent to burn - would provide some electrifying encounters at the very least. No such luck. Words fly, some of them medium-witty, but lightning doesn't strike.
  18. Fitfully amusing.
  19. Michael Winterbottom's films aren't always successful, but they're almost always interesting. And, in the case of this odd transplantation from Thomas Hardy's grim Wessex to the glare and blare of contemporary India, spectacular visually, though awfully somber dramatically.
  20. The Kingdom comes down to a police procedural, and one whose procedures prove none too interesting.
    • 48 Metascore
    • 50 Critic Score
    For all its noble intentions, its striving for authenticity, its unblinking look at the savagery of war, The Great Raid is far more dutiful than dramatic.
    • Wall Street Journal
  21. Lavishly produced -- overproduced, actually -- and persistently unexciting.
    • Wall Street Journal
    • 45 Metascore
    • 50 Critic Score
    Except for one terrifically adroit sequence in a subway, there is nothing understated about The Invasion. With all the shoot-outs, the screaming, the chases, collisions and fireballs, there isn't much time for storytelling.
  22. As long as this deity remains childish, materialistic and narcissistic, Jim's in his heaven and all's right with the world. It's when the story reaches for maturity, spirituality and altruism that the divine spark of comedy sputters and nearly goes out.
    • Wall Street Journal
  23. It's going to be a hit with libidinous boys, and their parents could do worse (see first review) than to watch the lavish, James Bondish gadgetry and cheerful anarchy of an action-adventure that's been made with all the finesse it needs, though not a jot more.
    • Wall Street Journal
    • 44 Metascore
    • 50 Critic Score
    Jackie Chan and Chris Tucker have been through a lot together. To be exact, "Rush Hour" "Rush Hour 2" and now Rush Hour 3. Are they tired? Perhaps not, but their antics and action sequences certainly are.
  24. Earnest, mostly predictable and candidly didactic. That said, I'm glad it got made -- what's wrong with films that teach? -- and especially glad that a remarkably gifted newcomer named Nicole Beharie got to play the central role.
  25. Mr. Rourke's performance is quite phenomenal, a case of unquenchable talent bursting the bonds of dehumanized artifice.
    • Wall Street Journal
    • 45 Metascore
    • 50 Critic Score
    It's beautiful to watch, but it doesn't cover very much ground. Sumptuously appointed, meticulously detailed, the film sallies forth - and sags. [06 Apr 1995]
    • Wall Street Journal
    • 55 Metascore
    • 50 Critic Score
    The movie itself -- which deals (not very interestingly) with the issue of journalistic integrity and (very predictably) with father-son relationships -- doesn't pack much of a wallop.

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