Wall Street Journal's Scores

  • Movies
  • TV
For 2,143 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 Zero Dark Thirty
Lowest review score: 0 Bedtime Stories
Score distribution:
2,143 movie reviews
  1. The Terminal is a terminally fraudulent and all-but-interminable comedy.
    • Wall Street Journal
  2. Bleak, remarkably turgid, tediously violent, devoid of drama, deprived of magic, stripped of romance and, except for one of the oddest boy-meets-girl scenes in movie history, a befuddled and befuddling excuse for entertainment.
    • Wall Street Journal
    • 36 Metascore
    • 30 Critic Score
    "Working Girl," is also heard in Little Black Book; it serves only to remind audiences of that far more winning story of triumph in the office. But there are many reminders of what a tiresome effort this is.
    • Wall Street Journal
    • 51 Metascore
    • 30 Critic Score
    An excruciatingly embarrassing display of ego and ineptitude.
    • Wall Street Journal
  3. A remarkably ill-advised remake.
    • Wall Street Journal
  4. This new Alfie is earnest -- irony is so last century -- and not angry at all, since working-class anger would mean nothing here, because class means nothing here. Nothing means anything here.
    • Wall Street Journal
  5. A train wreck of mind-numbing proportions.
    • Wall Street Journal
  6. There's no zest to the general depravity, no coherence to the script or the spectacle -- clarity is missing in some of the camera work -- and, most important, no character to give a Greek fig about.
    • Wall Street Journal
  7. Bring Zoloft and a tank of oxygen to Closer, an airless, ultimately joyless drama of sexual politics.
    • Wall Street Journal
  8. An experience best likened to being battered by hurricane-force winds generated by an organ with all stops pulled permanently out.
    • Wall Street Journal
  9. Ms. Wynter's performance is only one of many failings in a heavily accented costume drama that Bruce Beresford has directed turgidly from Marilyn Levy's amateurish script.
    • Wall Street Journal
  10. Ever so slightly defective in the area of coherence; it plays as if it should have been written by a committee but they didn't bother to convene one.
    • Wall Street Journal
  11. A few clumps of very funny stuff (including a quick tonsorial reference to "Mary") can't hide all the spots that are bald instead of bold.
    • Wall Street Journal
  12. Long on cutlery and d├ęcor (including, of course, the marvelously decorative Ms. Garner, of the TV series "Alias") and woefully short on narrative.
    • Wall Street Journal
  13. Constantine is yet another studio extravaganza that's all aswirl with atmospherics, though empty at its center. The invasion of the soul snatchers proceeds apace.
    • Wall Street Journal
  14. If claustrophobia's your style, The Jacket is a perfect fit.
    • Wall Street Journal
  15. The movie as a whole is nonsensical. And long. And slow. And head-poundingly loud as it culminates in slavering horror.
    • Wall Street Journal
  16. The video-game sequences are impressive, but you know that a 'toon is in big trouble when its most powerful theme is planned obsolescence.
    • Wall Street Journal
  17. Palindromes finds him (Solondz) stuck with his single theme inside a sealed dollhouse of his own construction. He has gifts to give a larger audience, if ever he breaks out.
    • Wall Street Journal
  18. This is little more than a big-budget sitcom, with a guest appearance by Mike Ditka, who plays an unfunny version of himself as Phil's assistant coach.
    • Wall Street Journal
  19. The result is a movie groping for a comic tone while its FX machinery spews vast clouds of visual gibberish.
    • Wall Street Journal
  20. Comes on like an overproduced coma, and leaves you comatose by the end. In between are 127 minutes of intermittent chaos that feel like a lifetime.
    • Wall Street Journal
  21. Brought down by repeated bursts of high absurdity.
    • Wall Street Journal
  22. YEEEEE HAAAAW! They've gone and done it. The feature version of The Dukes Of Hazzard turns a sow's ear into a bigger sow's ear.
    • Wall Street Journal
  23. A saga of static set pieces and strenuously clever notions, this is a fiasco of a film if ever there was one.
    • Wall Street Journal
  24. A guaranteed downer that's devoid of any upside, and free of dangerously entertaining side effects.
    • Wall Street Journal
  25. Heart-breakingly awful -- slow, lugubrious, and misconceived to the point of baffling amateurism.
    • Wall Street Journal
  26. Mr. Jarecki undercuts his own case -- not just undercuts but carpet-bombs it -- by using the same propaganda techniques he professes to abhor.
    • Wall Street Journal
  27. Before Firewall crumbles into foolishness, Harrison Ford and Paul Bettany make an oft-recycled plot look like a stylish model that just rolled out of a showroom.
    • Wall Street Journal
  28. The Shaggy Dog is paint, or more appropriately here, pant by the numbers. It also manages a one-two punch -- it will upset small children and bore their parents. There's just no other way to say this: Disney, that movie of yours is a dog.
    • Wall Street Journal

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