Wall Street Journal's Scores

  • Movies
  • TV
For 2,512 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: 60
Highest review score: 100 The Witch
Lowest review score: 0 15 Minutes
Score distribution:
2512 movie reviews
  1. Strong acting often lends authenticity to writing that lacks it, and Mr. McConaughey is, to be sure, an exceptionally strong actor. Yet this screenplay is so arid in its didacticism, so pallid in its would-be passion, that it defeats his efforts and our involvement.
  2. No one ever stops talking. Twenty-somethings talk incessant small talk, or cute talk, or fatuous talk that's supposed to be clever.
  3. By the climax, the adult has finally become a responsible though still charming citizen; the child has become age appropriate and, yes, even cuter. Tsunami swell of music. Roll the credits. Minus the charm, that pretty much sums up Uptown Girls.
    • Wall Street Journal
    • 63 Metascore
    • 40 Critic Score
    While there's gore by the gallon, inventiveness is in short supply.
    • Wall Street Journal
  4. As I watched the minimal plot unfold at a glacial pace in claustrophobic settings, I found myself wondering where the rest of the movie was.
  5. A long, slow slog through what could have been, and should have been, a more absorbing story.
    • Wall Street Journal
  6. To get to the beginning, one must first get through the end, which is almost literally unendurable.
    • Wall Street Journal
  7. There’s no secret life because there’s no life, only the promise of pets in perpetual motion.
  8. The screenplay, by Antonio Macia, is earnest and unsurprising--not a good combination--and neither the director nor the star quite knows what to make of the quirky character inside the traditional garments that signal otherworldly innocence to customs agents.
  9. I say don't bite unless your taste runs to thin gruel, and grueling gruel at that.
    • Wall Street Journal
  10. Having run its course in the third installment, the franchise jogs and lurches but mostly meanders through a story that tests the limits of true love (Shrek's, and ours).
  11. There's nothing wrong with beguiling star turns, but I wish this one had been surrounded by more of a movie. Birthday Girl is a harmless trifle that makes 93 minutes go by as if they were hardly more than an hour and a half.
    • Wall Street Journal
  12. One could argue that the target audience - black teenagers, Mr. Lucas has said - might be most receptive to a film that conveys history through contemporary entertainment. But this isn't contemporary entertainment, it's antiquated kitsch reprocessed by the producer's nostalgia for the movies of his boyhood. The story has been stripped of historical context - don't black teenagers and everyone else deserve hard facts? - and internal logic.
  13. If the movie gets by, as it surely will during the current entertainment drought, most of the credit should go to a couple of performers (Latifah/Keaton) who come from different traditions, yet share a gift for breathing life into moribund material.
  14. The most surprising thing about Alice in Wonderland is its general lack of surprise.
  15. A deeper problem in The King Is Alive is an almost total absence of spontaneity.
    • Wall Street Journal
  16. The movie isn't terrible -- a few clever notions snap to life and pay off, at least modestly -- but it's dispirited and eventually dispiriting, a force-fed farce that falls far short of fascination.
    • Wall Street Journal
  17. In their engaging, fast-paced and ultimately ludicrous combo of espionage and mayhem, the makers of The November Man give us a very Putin-like villain in Arkady Federov (veteran Serbian actor Lazar Ristovski).
  18. For all the luster of its subject, though, this earnest biopic lacks the spark of life.
  19. At least Miss Pettigrew Lives for a Day has the good grace to go wrong quickly, you don't have to sit there squirming with doubt.
  20. Furiously raunchy, occasionally bright and eventually benumbing comedy.
  21. I wish I could say that the film gives a great actor a worthy role, but the truth is otherwise. The character is banal — Günther lavishes attention on remarkably uninteresting spycraft — and Mr. Hoffman, like everyone else, is stuck with the glum tone set by the director, Anton Corbijn ("Control," "The American").
  22. The book presented several special, perhaps even insuperable, problems for adaptation to the screen, and the movie, which was directed by Robert Benton from a screenplay by Nicholas Meyer, hasn't solved them.
    • Wall Street Journal
  23. 42
    What's been carefully filtered out of the film as a whole is the tumult and passion of Robinson's life.
  24. Instead of scintillation, the movie gives us a succession of discrete set pieces, as if the action takes place in rooms but not in the halls connecting them.
  25. What brings Monsters down from its extremely low perch is a conspicuous lack of monstrosity.
  26. Certainly grows in its own right, into a coarse-grained summer vaudeville that could have been much smarter and sharper without losing its target audience.
    • Wall Street Journal
  27. Having been deeply moved — though often exasperated — by Terrence Malick's previous film, "The Tree of Life," I don't have the heart to belabor the failings of his new one, which is depressed and deeply depressing. The only thing that's wonderful in To the Wonder is the imagery.
  28. After covering much of its ground at a stylish canter, The Other Boleyn Girl finishes at a plod.
    • 69 Metascore
    • 40 Critic Score
    The press notes boast that Mr. Cutler was given "unprecedented access" and the right of final cut; these advantages don't seem to have done much for this listless film.

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