Wall Street Journal's Scores

  • Movies
  • TV
For 2,332 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 2.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 There Will Be Blood
Lowest review score: 0 John Q
Score distribution:
2,332 movie reviews
  1. The director, Steven Soderbergh, and his large, cheerful cast have managed to make the least possible movie that still resembles a movie.
  2. Nothing if not ambitious, yet at war with itself stylistically.
  3. Punishes the audience with a flat starring performance; Mr. Jane finds few sparks of life in a hero who wasn't all that lively to begin with.
    • Wall Street Journal
  4. Goes by pleasantly enough as you come to understand where it’s headed, but this romantic comedy, directed by Isabel Coixet from a screenplay by Sarah Kernochan, wears out its welcome, and energy, through unswerving conformity to its dramatic scheme.
    • 54 Metascore
    • 40 Critic Score
    Higher Learning put me in mind of a long lecture by a well-meaning but dull professor. What he has to say may be worthwhile, but it's delivered with plodding predictability. [12 Jan 1995, p.A12]
    • Wall Street Journal
  5. As a first-time feature director, though, he (Ball) seldom lets the material speak for itself. Every shot is a statement, every scene sells an attitude.
  6. When does banter turn to blather? In the case of this action adventure, which was directed by Baltasar Kormákur, it's when you realize that keeping track of the barely fathomable plot isn't worth the bother.
  7. Dumbfoundingly erratic, for the most part, but smart and funny from time to time.
  8. Jim Carrey is the prime offender here. He's such an unseemly showoff that the movie keeps stopping in its tracks.
    • Wall Street Journal
  9. Reasonably entertaining time-travel romance.
    • Wall Street Journal
  10. Here's one more studio extravaganza brought down by numbing action and an addiction to generic digital effects.
  11. Going on too long seems to be the disease of the week; it's certainly what brings this movie down, though the going on here stems from a surfeit of implausible plot that suffocates the main characters and the excellent actors who play them.
  12. The story refuses to combust; it's a strangely unsatisfying combination of bloodless observations and unresolved sexuality.
    • 42 Metascore
    • 40 Critic Score
    Exemplifies Hollywood's standard practice of stomping a brilliant concept beyond recognition.
    • Wall Street Journal
    • 47 Metascore
    • 40 Critic Score
    The movie moves at such an agonizingly stately pace that by the end, side effects be damned, Henry's time-traveling gene starts to look mighty appealing.
  13. Ted
    Ted is often hilarious, sometimes sweet and, in the spirit of "Family Guy," consistently raunchy. Yet it's seriously overextended and, as the premise wears ever thinner, frantically overproduced.
  14. There's no scarier myth for males, and Mr. Lichtenstein turns various images of emasculation into a black comedy that flirts, fairly tediously, with pornography.
  15. Be warned: Although it was filmed on the North Shore of Hawaii's Oahu island, this is a surf movie, not a surfing movie. As for the empowered-girl premise -- well, the kids may not notice, but Blue Crush is about as progressive as a Virginia Slims commercial.
    • Wall Street Journal
  16. It's ended up a weak imitation of the original. [09 Aug 1990]
    • Wall Street Journal
  17. The biggest battle in Monsters vs. Aliens is banality vs. originality, and banality carries the day.
  18. Remember "The Flight of the Phoenix," the movie about the misshapen plane, built from scavenged parts, that flies its builders to safety? Music and Lyrics is like that plane, up to a point. The plot is misshapen, the pieces are scavenged and nothing quite fits. The film does manage to take off, albeit barely, then flits around cheerfully in search of coherence, but finally crashes and fizzles.
    • Wall Street Journal
  19. The story wanders unconvincingly and tediously into corporate law offices and big, splashy nightclubs. Still, Mr. Hackford has the documentary maker's eye for realistic detail, so it all looks right. [01 Mar 1984]
    • Wall Street Journal
  20. The movie's real locus of anger must have been the director, Ang Lee, once he realized what an epic clod his computer wizards had wrought.
    • Wall Street Journal
  21. I'm sorry to report that Biyi Bandele's would-be saga, based on the celebrated novel by Chimamanda Ngozie Adichie, is disappointing, a romance pastiche that muddles the politics of the period beyond comprehension.
  22. Nolan’s 168-minute odyssey through the space-time continuum is stuffed with stuff of bewildering wrongness. Eager for grandeur, I went in hoping for the very best from a filmmaker with his own vision of the theatrical medium’s potential. The last thing I expected was a space adventure burdened by turgid discussions of abstruse physics, a wavering tone, visual effects of variable quality and a time-traveling structure that turns on bloodless abstractions.
  23. It's a movie at war with itself. The first half, more or less, is witty about California culture, or the lack of it, in a "Clueless" kind of way, which is a very good way.
    • Wall Street Journal
  24. This new feature, though, sets up a dialectic between reason and faith and argues it insistently, with eye-rolling earnestness.
  25. The result is heavy and humorless, despite a smart, skillful performance by Brooke Smith.
    • Wall Street Journal
  26. This is filmmaking by the numbers meant to succeed by the numbers.
  27. In contrast to the series, which was quick-witted, fast-paced and self-ironic -- oh, and sexy -- the movie is earnest, often aimless (couldn't anyone cook up a plot?), visually bland (except for the fashion shows) and, at two minutes short of 2½ hours, a decreasingly amiable meander.

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