Wall Street Journal's Scores

  • Movies
  • TV
For 2,533 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 Inside Job
Lowest review score: 0 Superbabies: Baby Geniuses 2
Score distribution:
2533 movie reviews
  1. What passes for the movie's reality is interlocking episodes of ersatz ecstasy and angst -- a Cupid-governed "Crash" -- plus snippets of wisdom dispensed by Mr. Freeman's character.
  2. The filmmakers can't keep the strands of their clumsy plot straight, but they create brilliant images and manipulate them with blithe abandon.
  3. The movie is stifling, all right, and depressing in the bargain.
  4. How you feel about Paul Haggis's new film may depend on your contrivance threshold.
  5. A provocative but eventually dislikable two-part film that dares us to dislike it.
    • Wall Street Journal
  6. Mr. Murray and his co-director, Howard Franklin, who adapted Jay Cronley's novel for the screen, succeed mainly in illuminating what made them want to direct the material. At least this picture struggles to emit a few gasps of fresh air as it goes down. [19 Jul 1990, p.A8]
    • Wall Street Journal
  7. I haven't seen the original, but I can vouch for the clumsiness of the new version. As usual, though, Queen Latifah is an indomitable, if sometimes undirectable, comic force.
    • Wall Street Journal
  8. Sometimes comes on like a NASA commercial; those logos loom gigantic on the IMAX screen. More troublingly, the film fails to explain how computer animations were combined with actual imagery from the missions.
    • Wall Street Journal
  9. This new Disney film, marked by myriad lapses and marketing follies, bears the woefully familiar earmarks of a big studio production that was pulled and hauled every which way until it lost all shape and flavor.
  10. In a film that has the courage of its absurdity but not much else, Mr. Pattinson gets the best of what passes for style.
  11. Tests your patience to the breaking point -- maybe beyond.
    • Wall Street Journal
  12. Hoffman and Beatty are so tone-deaf they don't even know how to play the songs for deadpan humor. They seem old, white, and without shtick. [14 May 1987, p.26(E)]
    • Wall Street Journal
  13. Can't hold a candle to Robert Altman's 1992 comedy "The Player." Both films present themselves as knowing views of the movie business, but Mr. Altman and his writer, Michael Tolkin, really knew.
    • Wall Street Journal
  14. Unfortunately, the movie could use a bit of pachyderm memory, given its habit of flashing back to Tien's childhood with exactly the same footage used in previous flashbacks. Instead of the narrative being deepened, it keeps getting shallowed.
  15. The star shouldn’t be blamed, though, for the failings of the direction and script. Here’s a case of consistently miscalibrated tone, from the first clumsy stabs at humor to the hero’s default expression, which is painfully pained.
  16. None of the film's tropes — fancy camera angles, dark streets, persistent rain, psycho killers in doomy settings, Scudder trudging around the city on their trail — can hide the essential hollowness of a not-very-interesting revenge tale that takes a not-at-all-welcome turn into grisly, ugly horror.
  17. Susan Sarandon is Marnie Minervini, a recent widow and the meddlesome mother of The Meddler. Marnie is an Italian iteration of Molly Goldberg minus the charm. She might be charming if there were a full-fledged movie around her instead of a display case —Ms. Sarandon is, of course, a deft comedian.
    • 50 Metascore
    • 40 Critic Score
    Jean's material is so flat-out awful it's amazing she gets hired at all, let alone that she once supposedly had headliner potential. It's a discrepancy that Introducing the Dwights never addresses.
  18. Fabrice Luchini is thwarted by an unwieldy plot.
  19. If this adds up to a full-fledged feature film, I'm a monkey's uncle.
    • Wall Street Journal
  20. Amusing, in fits and spurts, and sure to make tons of money, but terribly familiar and fatigued.
  21. The narrative lacks a strong heartbeat; you keep wondering why the spectacle isn't as affecting as it is picturesque.
  22. Ms. Scott Thomas is as intelligent and attractive as ever, but the synthetic world her character inhabits can't compete with a harrowing past that depicts French complicity in Nazi atrocities.
  23. The pretext of the movie, which was directed in broadbrush-cartoon style by Anne Fletcher from a coarse-textured script by Dan Fogelman, is a road trip taken by mother, Joyce, and son, Andrew.
  24. Once Captain America goes off to war in his endearingly silly suit, however, the movie starts to lose its vibe.
  25. The script's foolish contrivances crush its content.
    • Wall Street Journal
  26. Not even she (Patricia Clarkson), however, can save a movie that suffers from terminal self-enchantment.
  27. If you're able to take The Missing seriously, as I was not, you'll be impressed by its sweep and ambition. The most lasting impression it made on me was one of absurd overreaching.
    • Wall Street Journal
  28. The production feels tentative and underpopulated: I thought not only of Katniss Everdeen but of the marvelous pandemonium in Danny Boyle's zombie epic "28 Days Later."
  29. Mr. Crystal underplays his role wisely and well, while Mr. De Niro parodies -- maybe the better word is pillages -- himself and his career with scary gusto.
    • Wall Street Journal

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