Wall Street Journal's Scores

  • Movies
  • TV
For 2,190 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 After Hours
Lowest review score: 0 Legends of the Fall
Score distribution:
2,190 movie reviews
  1. As an experiment in Academy Award psychology, Albert Nobbs is fascinating. As drama? It is, forgive us, a drag.
  2. In The Hunger Games it's both a feast of cheesy spectacle and a famine of genuine feeling, except for the powerful - and touchingly vulnerable - presence of Jennifer Lawrence.
  3. The remake has no grace notes, or grace, no nuance, no humanity, no character quirks, no surprises in the dialogue and no humor.
  4. You're tempted to keep watching, even though the running time is a bloated 154 minutes, to see if anyone, or the movie itself, turns remotely likable. The answer to that, alas, is no.
  5. Mr. Beall, a former LAPD cop, has written a script so devoid of feeling that the cartoons blur into thin line drawings, while what's been done with the marvelous Ms. Stone - i.e. next to nothing - is downright criminal.
  6. The only reason to see this dreary parade of deception and venality is Mark Wahlberg's performance as a disgraced ex-cop caught up in the thick of menacing events he can't understand. It's striking how this tightly focused actor can find his own firmly grounded reality in the falsest of surroundings.
  7. The essence of this grindingly violent movie can be summed up by what Parker says of his handgun to a terrified clerk at a check-cashing service: "It's small, but it hurts."
  8. It's long on Viagra jokes and whorehouse scenes, and comes up short on plausibility.
  9. What a peculiar production this is. Up to a certain point, it really does promise to be romantic.
  10. Oz the Great and Powerful, like so many products of movie studios that have lost their way, is a Tin Man of epic proportions — bright and shiny, with no heart.
  11. Nobody doesn't like Tina Fey, and anyone aware of her starring role in Admission will be wishing her well. But wishing won't make this dramedy any less dreary than it is.
  12. I won't pretend that I had a great time watching G.I. Joe: Retaliation.
  13. The story is rooted in a political past that never comes to life, and its structure is so cockeyed that we don't even get to see Nick's reaction to a climactic surprise that takes place off-screen. The film was shot by an excellent cinematographer, Adriano Goldman, though you'd never know it from the lighting, which is as flat as the writing.
  14. The movie's failures are all the more unfortunate because they detract from its central and conspicuous success, the performance of Riz Ahmed in the title role. Mr. Ahmed turns the quicksilver quality of the book's internal monologue into a tour de force of his own creation. He's a bright star in a dim constellation.
  15. What's intractably wrong with the film is that there's no reality to heighten; it's a spectacle in search of a soul.
  16. Mr. Emmerich, who has often conjured with cosmic themes, sometimes wittily, achieves something new this time around — a level of indifference to the genre and its fans that amounts to a cosmic shrug. What does it matter if the absurdity is slovenly, the whimsy leaden, the extravagance squalid?
    • Wall Street Journal
  17. Johnny Depp's Tonto wears a dead crow on his head in The Lone Ranger. The star himself carries a dead movie on his shoulders.
  18. The larger problem, transcending all realms, is that this action-adventure sequel from Marvel soon turns so dumb and 3-D-murky that it hurts.
  19. Labor Day, adapted from a novel by Joyce Maynard, is the kind of movie that turns clarity into stultification; everything is perfectly clear and almost everything — pie-making excepted — is perfectly lifeless.
  20. Mr. Goldsman, a first-time director though a veteran screenwriter, has been done in by the source material. Either he climbed aboard a horse that was too much for him, or the universe gave him a bum steer.
  21. For precursors of Guy's perversity, one would have to go back to W.C. Fields, who made antic art out of his characters' abhorrence of children.
  22. The best thing to be said for this lumbering comedy is that it offers a chance to see Vanessa Paradis, the singularly alluring French singer, actress and model, play Avigal, a melancholy Hasidic widow in Brooklyn, N.Y., and play the role with exceptional delicacy. Otherwise, arrgh!
  23. Some of it sputters, settling for smiles instead of laughs, and much of it flounders while the slapdash script searches, at exhausting length, for ever more common denominators in toilet humor.
  24. Instead of soft core, Sex Tape offers no core. No narrative core, just a not-bad notion executed execrably; no core of conviction, just two stars trudging joylessly through swamps of mediocrity.
  25. The fault is not in the co-stars; they've been brilliant before and will be brilliant again. It's in the laggardly pace, pedestrian writing and murky viewpoint of Ned Benson's feature.
  26. This is one of those overworked and generally airless comedies with a sitcom premise that can't sustain life.
  27. Men, Women & Children touches many nerves, but then pinches and twists them with its ham-handed approach to social commentary. I worry about Mr. Reitman, a filmmaker of consequence who is still too young to be so cosmic. Time to lighten up and come back down to Earth.
  28. Never mind the awfulness of the three madwomen being relentlessly mad, or the silliness of their journey’s logistics; not for a moment do you believe that this grievously afflicted trio actually inhabits what amounts to a small, rickety and unadorned paddy wagon. What’s definitively awful is the spectacle of unrestrained vanity.
  29. The story line, a sequence of very loosely connected events, sustains a state of almost pure brainlessness with its indifference to dramatic development and the dictates of logic, even the fantasy logic of cartoons. It’s as if most of the script had been generated by algorithms.
  30. Most of the prime goofiness is given over to Vassili and Konig sharpshooting at each other while the battle rages. The movie's a red elephant.
    • Wall Street Journal

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