Wall Street Journal's Scores

  • Movies
  • TV
For 2,594 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 2.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 The Curious Case of Benjamin Button
Lowest review score: 0 How Do You Know
Score distribution:
2594 movie reviews
  1. Enjoyable enough for what it is, a clever idea developed by fits and starts.
  2. The film turned out to be plodding and boring. No one can accuse Hardcore Henry of being plodding. It does get to be boring, but in the high-tech, cutting-edge mode of first-person-shooter videogames that dazzle your eyes, spark your synapses and numb your brain.
  3. The only rewards, and they are real albeit insufficient, involve watching Jane Fonda in full cry and Catherine Keener in a quieter fullness of feeling.
  4. I was put off by the acting, or more properly by the spectacle of good actors dutifully following leaden direction, and equally by the writing, which is as thin as the veneer of civilization it purports to peel back.
  5. It's as if the filmmakers, having committed themselves to the book, fled from its essence, which is wildness.
    • Wall Street Journal
  6. Now the two men are back, along with Irene. But she vanishes all too soon in this overproduced, self-enchanted sequel, and so does the spirit of bright invention that made the previous film such a pleasant surprise.
  7. It's overextended and exhaustingly comic.
  8. The director, Steven Soderbergh, and his large, cheerful cast have managed to make the least possible movie that still resembles a movie.
  9. Nothing if not ambitious, yet at war with itself stylistically.
  10. 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
  11. 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
  12. 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.
  13. 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.
  14. I came out of this would-be epic feeling physically exhausted, psychically mauled and none the better for wear.
  15. Joy
    Joy is at its annoying worst when it’s clamoring to be antic, and at its brilliantly funny best when Joy and her adversaries — including one played by Bradley Cooper — are deadly serious about business as mortal combat.
  16. Dumbfoundingly erratic, for the most part, but smart and funny from time to time.
  17. Jim Carrey is the prime offender here. He's such an unseemly showoff that the movie keeps stopping in its tracks.
    • Wall Street Journal
  18. Reasonably entertaining time-travel romance.
    • Wall Street Journal
  19. Congrats to Mr. McConaughey, usually a beanpole, for making himself unfashionably fat. The movie, though, is thin, if semi-clever, the synthetically exuberant tale of a rogue’s journey from rags to riches and back again.
  20. Here's one more studio extravaganza brought down by numbing action and an addiction to generic digital effects.
  21. 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.
  22. 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.
  23. 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.
  24. 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.
  25. 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
  26. It's ended up a weak imitation of the original. [09 Aug 1990]
    • Wall Street Journal
  27. The biggest battle in Monsters vs. Aliens is banality vs. originality, and banality carries the day.

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