Wall Street Journal's Scores

  • Movies
  • TV
For 2,425 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: 59
Highest review score: 100 Mad Max: Fury Road
Lowest review score: 0 Henry Fool
Score distribution:
2425 movie reviews
  1. UHF
    UHF, a parody of trash television, is almost defiantly silly, but when it's funny it is very funny. This sloppy, good-natured satire certainly doesn't threaten "Network's" status as the classic decimation of the television business. [27 Jul 1989, p.1]
    • Wall Street Journal
  2. This hugely elaborate production is supposed to be the reboot of a foundering franchise, but rebooting a computer wipes the silicon slate clean. In the movie, what's old is old again.
    • 47 Metascore
    • 40 Critic Score
    The best that can be said of it: inoffensive.
  3. The world didn't need a superficial big-screen adaptation of a rich, dense book that's about, among many other things, the passage of time. The perplexity is why the film is so lifeless and remote.
  4. Sacha Baron Cohen's tosses off some sensationally funny stuff before descending into a rat-a-tat rhythm of random insult and ritual vulgarity.
    • 69 Metascore
    • 40 Critic Score
    The ultimate poor judgment: the decision to put Babel before the camera. That defies comprehension in any language.
    • Wall Street Journal
  5. The mystery posed by Oblivion as a whole is why its mysteries are posed so clumsily, and worked out so murkily.
  6. If Lords of Dogtown accomplishes nothing else, it shows how hard writing a fiction film can be, and what a vast artistic distance can stand between a bad fiction film and the first-rate documentary that inspired it.
    • Wall Street Journal
  7. It's a fascinating story, but Mr. Nichols and his actors never stop reminding us how fascinating it is. With the exception of Mr. Hoffman, a master of understatement, everyone acts up a storm, yet context is lacking.
    • Wall Street Journal
    • 71 Metascore
    • 40 Critic Score
    Lacks a crucial element of the heist subgenre: ingenuity.
    • Wall Street Journal
  8. To enjoy what's enjoyable in The Fighting Temptations, you've got to take in the music and shut out the words -- not the lyrics of the wonderful songs, but the dialogue stuffed into actors' mouths.
    • Wall Street Journal
  9. Movies like this have been around forever too. They're a normal condition of winter's doldrums, which, in the fullness of time, will pass.
    • Wall Street Journal
  10. What's remarkable here is the consistency of the mediocrity.
    • 79 Metascore
    • 40 Critic Score
    A great premise for a movie. Unfortunately, The War of the Roses is not clever, at least not very often. [14 Dec 1989, p.A20(E)]
    • Wall Street Journal
  11. I watched the film in an agitated space between engrossed and aghast.
  12. Even the Bollywood ending, a pleasant echo of “Slumdog Millionaire,” is intercut with darker reminders of dwindling days. Much of this sequel is clumsy, and awfully silly, but consistently shallow it is not.
    • 75 Metascore
    • 40 Critic Score
    Born on the Fourth of July would be merely a hilariously inept gathering of Vietnam War movie cliches. Instead it is an unrelenting series of dramatic blows; almost every scene packs violence, sleaze, screamed rage and an ear-splitting music with headbutt force. For someone who despises the military, Mr. Stone is quite bellicose. [21 Dec 1989, p.1]
    • Wall Street Journal
  13. How bad must a movie be to be good fun? How dumb to be smart? (Or, in the case of "Dumb and Dumber," how pretend-dumb to be surpassingly smart?) Whatever the case, Hot Tub Time Machine doesn't make the cut.
  14. Angels & Demons is a serious slog. Still, it's an odd kind of a slog that manages to keep you partially engaged, even at its most esoteric or absurd.
  15. A not-bad idea lurks inside this insipid story.
    • Wall Street Journal
  16. A misshapen semi-spectacle that seems to be simulating an epic, and getting away with it only occasionally.
    • Wall Street Journal
  17. Comes to the screen missing subtle cues and crucial connections.
    • Wall Street Journal
  18. This movie needs a star performance at its center, and the director, Joe Johnston, doesn't seem to know it. His closeups dote on Mr. Mortensen's striking face, and on the actor's interesting inwardness, but he doesn't ask for, or find, the sort of zest that could turn laconic into romantic.
    • Wall Street Journal
  19. Seldom has grandeur struggled so mightily, and fruitlessly, with rampant goofiness.
    • Wall Street Journal
  20. Can't lift the double curse of too little genuine action, as opposed to quixotic events, and too many fancy words.
    • Wall Street Journal
  21. The shallow-seated problem with Murder by Numbers is that it's serious and doggedly intricate but not much fun.
    • Wall Street Journal
  22. It’s easy to see why Mr. Burton, an influential imagist in his own right and a collector of Keane paintings, was attracted to this saga of contending Keanes, and the result, photographed by Bruno Delbonnel, is a study in yummy colors and period design. But I watched wide-eyed with dismay while the film turned as lifeless as the paintings.
  23. The result is a mess -- sometimes an entertaining mess, but mostly a movie that makes a perfunctory mockery of the mockery currently passing for political discourse.
    • Wall Street Journal
  24. A visionary film with dramatic myopia.
    • Wall Street Journal
  25. In what was clearly designed to be a chick flick, the on-screen chicks work hard at being endearing, while Jude Law, as Amanda's more than conversational partner, charms everyone effortlessly and gets the best lines.

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