Wall Street Journal's Scores

  • Movies
  • TV
For 2,252 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 2.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Mother
Lowest review score: 0 Henry Fool
Score distribution:
2,252 movie reviews
  1. Stinker doesn't begin to describe this movie's character -- both frenzied and dispiriting.
    • Wall Street Journal
  2. J. Michael Straczynski's disjointed script manages to ring false at almost every significant turn (Collins' psychiatric-hospital stay has grown into a latter-day version of "The Snake Pit") and Clint Eastwood's ponderous direction -- a disheartening departure from his sure touch in "Letters From Iwo Jima" and "The Bridges of Madison County" -- magnifies the flaws.
  3. 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.
  4. 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
  5. The movie transforms a dim idea - "Elmer Gantry" lite - into comedy that's dead in the water and as dull as it is broad.
  6. The performances, under Mike Newell's direction, range from conventional (Ms. Roberts) to dreadful, and the script is as shallow as an old Cosmo cover story.
    • Wall Street Journal
  7. Mr. Li is a master not only of martial arts, but of composure; no one does nothing better. The film itself is no great shakes.
    • Wall Street Journal
  8. Pathetically unfunny most of the time.
  9. 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
  10. I can't find much slack to cut the film, except to say that it's a potboiler cooked in an upscale Teflon pot.
    • Wall Street Journal
  11. Starts well with the stirring spectacle of young men and women, members of a National Guard unit stationed south of Baghdad, struggling to do their duty in an alien land of unfathomable danger. Once they return, however, wounded physically or shattered spiritually, the film turns didactic, contrived and occasionally ludicrous.
    • Wall Street Journal
  12. Ordinary moviegoers, on the other hand, may wonder what they're supposed to feel, apart from bored.
    • Wall Street Journal
  13. Meryl Streep as Margaret Thatcher is the main reason to see The Iron Lady, which was directed by Phyllida Lloyd - not just the main reason but the raison d'être of an otherwise misconceived movie.
  14. 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
  15. I won't pretend that I had a great time watching G.I. Joe: Retaliation.
  16. The makers of Return to Oz say that their rather bleak, nonmusical fantasy is more faithful to Mr. Baum's vision than "The Wizard of Oz" was. What's appropriate, however, isn't always what's right. All Ms. Balk can do is look earnest and young; Ms. Garland opened her mouth and out came Dorothy's soul.
    • Wall Street Journal
  17. The Terminal is a terminally fraudulent and all-but-interminable comedy.
    • Wall Street Journal
  18. (It doesn't hurt that Ms. Redgrave gets to play opposite Franco Nero, who was once the love of her life and is the father of her son.) Not even she can transform lines like "Destiny wanted us to meet again."
  19. A snapshot, to be sure, but scattershot as well.
    • Wall Street Journal
    • 35 Metascore
    • 30 Critic Score
    Clone Wars will appeal only to the most tolerant, galactically minded children and their parents.
  20. Despite all of its failures of wit, sense, and pace, the film does most effectively flaunt the millions spent on it. The inane action takes place in splendiferous settings. [23 May 1991]
    • Wall Street Journal
  21. Comes briefly to life, after many longeurs -- many large longeurs in IMAX -- with the discombobulated entrance of B.E.N., a dysfunctional, hyperverbal robot voiced by Martin Short.
    • Wall Street Journal
  22. Mr. Osunsanmi's chutzpah exceeds his skill.
    • 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
  23. Since Mary rarely gets to see any of the good stuff, neither do we; Dr. Jekyll hides most of his switcheroos behind closed doors. [23 Feb 1996]
    • Wall Street Journal
  24. Quentin Tarantino's Kill Bill inflicts intolerable cruelty on its characters, and on its audience -- though I'd like to believe that there is no mainstream audience for what has already been described, quite correctly, as the most violent movie ever released by an American studio.
    • Wall Street Journal
    • 49 Metascore
    • 30 Critic Score
    Although packaged as a movie, is in reality a clever 106-minute promo for Sony's PlayStation II games.
    • Wall Street Journal
  25. In the spirit of that world, I cannot tell a lie: The Invention of Lying, which the English comedian both directed and wrote with Matthew Robinson, soon loses altitude and eventually falls flat.
    • 25 Metascore
    • 30 Critic Score
    The inert License to Wed shambles along one lame scene after another.
  26. What a peculiar production this is. Up to a certain point, it really does promise to be romantic.

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