Wall Street Journal's Scores

  • Movies
  • TV
For 2,146 reviews, this publication has graded:
  • 41% higher than the average critic
  • 2% same as the average critic
  • 57% 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: 59
Highest review score: 100 Drive
Lowest review score: 0 Metroland
Score distribution:
2,146 movie reviews
  1. The explosively combative young hero, Liam (a brilliant performance by Martin Compston), has only the illusion of a fighting chance. Yet Sweet Sixteen is powerful because of the searing honesty with which it strips Liam of his illusions.
    • Wall Street Journal
  2. Now the movie can be seen for what it was all along, remarkable by any standards.
    • Wall Street Journal
  3. Better than a feelgood movie, it's a feelgreat movie -- genuinely clever, affecting when you least expect it to be and funny from start to finish.
    • Wall Street Journal
  4. Persistently upends expectations without insult, as it pulls you into a netherworld filled with yearning, whimsy, and danger. [15 Dec 1992, p.A16(E)]
    • Wall Street Journal
  5. A wickedly astute and beautiful comedy of manners-cum-murder mystery, it's too dense, and occasionally confusing, to grasp fully the first time around. How lucky, then, that it's also too much fun to see just once.
    • Wall Street Journal
  6. Depends on comic timing so precise that it seems weightless and all but effortless. And it depends on performers, of course, who can do a comic turn just as readily as a deft writer can turn a phrase. In that department, Ocean's Eleven is at least 11 times blessed.
    • Wall Street Journal
  7. What it's about is also what it requires for proper appreciation -- the ability of the human mind to hold, and even cherish, diametrically opposite thoughts.
    • Wall Street Journal
  8. In the entertainment culture that surrounds us, words like "harrowing," "anguishing," "unfathomable" or "horrifying" don't sell movie tickets. Capturing the Friedmans is all of these things and more.
    • Wall Street Journal
  9. Shrewdly conceived, confidently executed and outrageously entertaining.
    • Wall Street Journal
  10. Ever since the movie made a brief appearance late last year to qualify for Oscar consideration, Mr. Caine's performance has been hailed as the best of his career, and surely that's true.
    • Wall Street Journal
  11. Since you can't read my lips, read my words: See this movie.
    • Wall Street Journal
  12. Ingeniously scary.
    • Wall Street Journal
  13. A film that is both touching and generous of spirit - and funny as well. [15 Dec 1988, p.A16(E)]
    • Wall Street Journal
  14. A romantic comedy of grace notes and mini-epiphanies -- mini, that is, except for Ms. McDormand's Jane, who is memorable to the max.
    • Wall Street Journal
  15. This beguiling fable, with its darkly distinctive look, does DreamWorks proud.
    • Wall Street Journal
  16. It's classic animation wedded to modern technology -- painted pictures that move in magical splendor.
    • Wall Street Journal
  17. Nair's movie, far from being paste, is a string of small, exquisite gems.
    • Wall Street Journal
  18. A glorious feature-length documentary -- This film will leave an indentment, and a deep one, on anyone who loves great, joyous music and cares about the people who make it.
    • Wall Street Journal
  19. Rarely has so scary a thriller been so well made, and never has digital video -- by the English cinematographer Anthony Dod Mantle -- been put to grittier use.
    • Wall Street Journal
  20. Everything and everyone is observed sharply, succinctly and indelibly.
    • Wall Street Journal
  21. Blissfully funny, terrifically intelligent and tender when you least expect it to be.
    • Wall Street Journal
  22. This screwball comedy about a scrappy Hawaiian kid and the rabidly destructive little alien she mistakes for a dog is powered by ferocious joy. And, remarkably, it manages to incorporate traditional Disney values, such as the sanctity of the family, in a visually bold, subversively witty package that's as far from corporate as mainstream movies get.
    • Wall Street Journal
  23. A movie of minimalist moments (Molly's tiniest gestures speak volumes) and lovely, almost holy tableaux.
    • Wall Street Journal
  24. Smart, surpassingly odd, extremely funny and mysteriously endearing at the same time.
    • Wall Street Journal
  25. The silliness of Jump Tomorrow takes your breath away, and I mean that as high praise.
  26. Charlotte Rampling is the best reason, though far from the only one, to see Swimming Pool, a mesmerizing mystery, plus a wonderfully sensuous fantasy.
    • Wall Street Journal
  27. The links and resonances remain largely abstract -- to understand them isn't necessarily to be moved by them -- while the individual dramas of those three lives are often stirring, and the three starring performances are unforgettable.
    • Wall Street Journal
  28. The most elegantly crafted and confidently directed of all his (Cronenberg's) films, it's a calm, chilling portrait of a blighted soul and, just as calmly but quite stunningly, an evocation of the thought processes behind the blight.
    • Wall Street Journal
  29. An undersea treasure all the same, and a prodigy of visual energy.
    • Wall Street Journal
  30. Operates in an orbit somewhere between Oliver Sacks and Lewis Carroll. I can't remember when a movie has seemed so clever, strangely affecting and slyly funny at the very same time.
    • Wall Street Journal

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