Wall Street Journal's Scores

  • Movies
  • TV
For 2,661 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: 61
Highest review score: 100 Hell or High Water
Lowest review score: 0 Glitter
Score distribution:
2661 movie reviews
  1. "Another Earth" and "Moon" transcended their financial and physical limitations with mystery and ambiguity. Europa Report goes ploddingly where bolder films have gone before.
  2. The perverse fascination of Jet Lag is watching two superb actors struggle with material that doesn't suit them.
    • Wall Street Journal
  3. What Minions does have is abundant if relentless cuteness, which audiences are sure to accept in lieu of content; people love these little guys.
  4. The great strength of Concussion is its star’s performance.
  5. 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
  6. 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.
  7. 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.
  8. 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
  9. Two movies for the price of one, though only one of them-a fragmented romance within a ponderous parable-qualifies as a bargain.
  10. 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.
  11. Fitfully amusing.
  12. 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.
  13. 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
  14. 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.
  15. 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
  16. 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.
  17. 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.
  18. 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.
  19. It's a purely sensory journey until the pictures start making editorial comments, in slaughterhouses and garbage dumps.
  20. For all his years doing "E.R." and other top-line TV series, Mr. Wells hasn't yet tailored his techniques to the big screen.
  21. When the film finally gets around to monsters on a rampage, you'll get both more and less than you bargained for.
  22. The movie is grimly efficient on its own terms, a string of ever more naked calculations. But it looks like a business school opened up and all the marketing grads were allowed to start their own studio.
  23. This peculiarly predictable picture has been calculated, or miscalculated, to set up certain expectations, fulfill them, and then do the same thing again, thereby giving us a chance to see what's coming and, at least in theory, be shocked when it actually comes.
    • Wall Street Journal
  24. The second film, in particular, grows tediously episodic, and the exploits become a blur. What never blurs is Mr. Cassel's presence. We're told that he bulked up for the part-though Mesrine was many things, lithe wasn't one of them-but it's his phenomenal zest for his checkered character that fills the screen.
  25. The motion-capture animation is spectacular..Yet the action grows wearisome as it grinds on, and the film becomes a succession of dazzling set pieces devoid of simple feelings.

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