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 Bridesmaids
Lowest review score: 0 Superbabies: Baby Geniuses 2
Score distribution:
2554 movie reviews
  1. Surprise, surprise. X-Men: The Last Stand, the third big-screen convocation of mutant shape shifters, weather changers, ice makers, energy suckers, healers and telepaths from Marvel Comics, has shifted the shape of the franchise from pretty good, if uninspired, to terrifically entertaining.
    • Wall Street Journal
  2. A delicious thriller that gets under the skin à la "All About Eve," albeit with a twist: The craft here is still theater, but of the workplace rather than the stage.
  3. A survey of the week wouldn't be complete without a left-handed salute--not to be confused with a backhanded compliment--to the gleeful rubbish of Not Quite Hollywood: The Wild, Untold Story of Ozploitation!
    • 73 Metascore
    • 80 Critic Score
    This award-winning picture from Belgium is the kind Hollywood seems no longer interested in making: a sophisticated drama that presumes a level of insight and maturity in an audience that doesn't need winks and arrows to understand what's going on.
    • Wall Street Journal
  4. A minor comedy, though a major delight.
    • Wall Street Journal
  5. A wonderfully generous spirit. It's a film about cultural yearning and fearless love.
    • Wall Street Journal
  6. Awash in terrific performances.
    • Wall Street Journal
  7. Winningly human, and wonderfully funny.
    • Wall Street Journal
  8. The outcome is distinctive and entertaining. There's no way you'd mistake this for James Bond, and no reason you would want to.
    • Wall Street Journal
  9. Mr. Wright and his colleagues have made a movie with a spaciousness of its own, a brave willingness to explore such mysteries of the mind and heart as the torture that madness can inflict, and the rapture that music can confer. Bravo to all concerned.
  10. Manipulative, but confidently so, and improbably but consistently affecting.
    • Wall Street Journal
  11. By the end there isn't anyone to cheer for, except the makers of this thoughtful and absorbing piece of work. [02 Aug 1984]
    • Wall Street Journal
  12. It's very funny, terrifically lively and, considering how awful it might have been, surprisingly tender in its portrait of a young guy who learns sensitivity the hard way.
    • Wall Street Journal
  13. 5 Broken Cameras is short on facts and, like the demonstrations themselves, provocative by nature. Still, it casts a baleful light on anguishing, seemingly incessant scenes of tear gas hurled, bullets fired, villagers fleeing for their lives and, on one shocking occasion, a life lost as the camera rolls. This is how the conflict looks from the other side of the barrier.
  14. This prequel draws new energy from supersmart casting, plus the shrewd notion of setting the beginnings of the X-Men saga in the early 1960s.
  15. Taken at face value, these two women are simply despicable. But the screenplay has a bracing tincture of Grand Guignol, and nothing is simple when the two women are played by a couple of superlative actresses who clearly delight in one another.
    • Wall Street Journal
  16. What works best is what's readily accessible, the startling power of performers who understand the drama all too well.
  17. All the backing-and-forthing between olden and modern days intensifies the emotional impact of a compelling story, and underlines the enduring power of narrative itself.
    • Wall Street Journal
  18. Haunting, troubling documentary.
    • Wall Street Journal
  19. Watch them march to the very extremes of extremis, though, and it's easy to feel awe.
    • Wall Street Journal
  20. It's as good as anything that Hurt has ever done -- a study in explosive understatement.
    • Wall Street Journal
  21. Before and after plot mechanics, a drama of family tension and warmth.
  22. Intriguing and affecting documentary.
    • Wall Street Journal
  23. Gives us the same sort of perverse pleasure that's been a staple of "60 Minutes" over the years -- watching world-class crooks tell world-class lies.
    • Wall Street Journal
  24. With his co-writer, Randy Sue Coburn, and composer Mark Isham, director Alan Rudolph has created a sense of time and place that authentically conveys what it might have been like when writers were celebrities and special effects came from words. [10 Jan 1995, p.A18]
    • Wall Street Journal
  25. It declines to take itself seriously, yet manages, sometimes simultaneously, to be exciting, instructive, cheerfully absurd and genuinely affecting.
    • Wall Street Journal
  26. The filmmaker has put two familiar pieces of music to such glorious, full-throated use toward the end that I can’t resist mentioning them: Donovan’s “Deep Peace,” and “Unchained Melody” done in close harmony by the Fleetwoods. For Nathalie in the uncertainty of the here and now, peace and harmony are great ideas too.
  27. This autobiographical meditation is seductively funny, as well as deliciously strange, and hauntingly beautiful, as well as stream-of-consciousness cockeyed.
  28. This wise and funny film, in Japanese with English subtitles, works small miracles in depicting the pivotal moment when kids turn from the wishfulness of childhood into shaping the world for themselves.
  29. What's fun about this movie is the sight of Mr. Irons's Claus stalking the mansion like a tall, skinny ghost smiling at the perverseness of it all. [18 Oct 1990, p.A14(E)]
    • Wall Street Journal

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