Wall Street Journal's Scores

  • Movies
  • TV
For 2,533 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 Nostalgia for the Light
Lowest review score: 0 Pain & Gain
Score distribution:
2533 movie reviews
  1. A remarkably dislikable film, long on atmosphere -- I admired Dion Beebe's brooding cinematography -- and desperately short on vitality.
    • Wall Street Journal
  2. Kevin Spacey's pinched portrayal of Quoyle as a scared palooka rarely transcends its own artifice.
    • Wall Street Journal
  3. I’ve gone on about the creatures because there’s so little to say about the humans, who, in their turn, have little to say about the creatures, because the writers haven’t written enough lively dialogue.
  4. Ms. Robbie, on the other hand, aces her role from the start; she’s got an unerring gift for romantic comedy. Still, the film itself comes to feel like a con, thanks to a script that’s too clever by two-thirds, and butterfingered in the ways of portraying love.
    • 56 Metascore
    • 40 Critic Score
    After the first bit of fish bait is consumed, actually even before, this one-trick movie is a tough slog.
    • Wall Street Journal
  5. A film that tries constantly to amuse, but succeeds only fitfully.
    • Wall Street Journal
  6. The result is fitfully interesting, and Mr. Kinnaman, best known for "The Killing" on television, compels our empathy with a kind of macho melancholia. Still, the whole thing comes down to an action adventure that's graphics-rich, logic-poor, coherence-challenged and pleasure-impaired.
  7. It's too much for a feature film, and too little, but it certainly isn't dull.
    • Wall Street Journal
  8. Strong acting often lends authenticity to writing that lacks it, and Mr. McConaughey is, to be sure, an exceptionally strong actor. Yet this screenplay is so arid in its didacticism, so pallid in its would-be passion, that it defeats his efforts and our involvement.
  9. No one ever stops talking. Twenty-somethings talk incessant small talk, or cute talk, or fatuous talk that's supposed to be clever.
  10. By the climax, the adult has finally become a responsible though still charming citizen; the child has become age appropriate and, yes, even cuter. Tsunami swell of music. Roll the credits. Minus the charm, that pretty much sums up Uptown Girls.
    • Wall Street Journal
    • 63 Metascore
    • 40 Critic Score
    While there's gore by the gallon, inventiveness is in short supply.
    • Wall Street Journal
  11. As I watched the minimal plot unfold at a glacial pace in claustrophobic settings, I found myself wondering where the rest of the movie was.
  12. A long, slow slog through what could have been, and should have been, a more absorbing story.
    • Wall Street Journal
  13. To get to the beginning, one must first get through the end, which is almost literally unendurable.
    • Wall Street Journal
  14. There’s no secret life because there’s no life, only the promise of pets in perpetual motion.
  15. The screenplay, by Antonio Macia, is earnest and unsurprising--not a good combination--and neither the director nor the star quite knows what to make of the quirky character inside the traditional garments that signal otherworldly innocence to customs agents.
  16. I say don't bite unless your taste runs to thin gruel, and grueling gruel at that.
    • Wall Street Journal
  17. Having run its course in the third installment, the franchise jogs and lurches but mostly meanders through a story that tests the limits of true love (Shrek's, and ours).
  18. In a production based on a nonfiction book by Diane Ackerman, a brilliantly specific story has been reduced to conventional drama and synthetic heroics.
  19. There's nothing wrong with beguiling star turns, but I wish this one had been surrounded by more of a movie. Birthday Girl is a harmless trifle that makes 93 minutes go by as if they were hardly more than an hour and a half.
    • Wall Street Journal
  20. One could argue that the target audience - black teenagers, Mr. Lucas has said - might be most receptive to a film that conveys history through contemporary entertainment. But this isn't contemporary entertainment, it's antiquated kitsch reprocessed by the producer's nostalgia for the movies of his boyhood. The story has been stripped of historical context - don't black teenagers and everyone else deserve hard facts? - and internal logic.
  21. If the movie gets by, as it surely will during the current entertainment drought, most of the credit should go to a couple of performers (Latifah/Keaton) who come from different traditions, yet share a gift for breathing life into moribund material.
  22. The most surprising thing about Alice in Wonderland is its general lack of surprise.
  23. A deeper problem in The King Is Alive is an almost total absence of spontaneity.
    • Wall Street Journal
  24. The movie isn't terrible -- a few clever notions snap to life and pay off, at least modestly -- but it's dispirited and eventually dispiriting, a force-fed farce that falls far short of fascination.
    • Wall Street Journal
  25. In their engaging, fast-paced and ultimately ludicrous combo of espionage and mayhem, the makers of The November Man give us a very Putin-like villain in Arkady Federov (veteran Serbian actor Lazar Ristovski).
  26. For all the luster of its subject, though, this earnest biopic lacks the spark of life.
  27. At least Miss Pettigrew Lives for a Day has the good grace to go wrong quickly, you don't have to sit there squirming with doubt.
  28. Furiously raunchy, occasionally bright and eventually benumbing comedy.

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