Wall Street Journal's Scores

  • Movies
  • TV
For 2,169 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 Waiting for 'Superman'
Lowest review score: 0 Because I Said So
Score distribution:
2,169 movie reviews
  1. Every now and then a movie's awfulness rises to the level of mystery.
  2. How much do I loathe this film? A lottico is putting it mildico.
  3. Let's give this ghastly studio comedy a Truthiness in Advertising award, if nothing else.
  4. The production's penchant for contrivance is insufferable - not a single spontaneous moment from start to finish - and the boy is so precocious you want to strangle him. It's surely not the fault of Thomas Horn, the remarkable young man who plays him.
  5. It's shrill in tone, awash in unexamined narcissism - kids are just pretexts for laughs, rather than objects of love - and afflicted by explosive verbal diarrhea. There's simply no base line of normal human activity, let alone intimacy, until the anticouple finally re-examines their anticommitment credo. By then everyone has been so selfish and dislikable that our commitment to the film is lost.
  6. Hitchcock rings false from start to finish.
  7. Doc says: "I can't believe this is happening." …That sentence may be the only one uttered in the entire film that contains an ounce of true feeling. Certainly that was the thought on my mind as I watched this depressing rehash of material that seemed original just five years ago, when it was. And "I can't believe this is happening" seemed to be what most of the actors were thinking as they gamely trudged through their paces yet again. [31 May 1990, p.A12]
    • Wall Street Journal
  8. For anyone who remembers the "Die Hard" adventures at their vital and exciting best, this film feels like a near-death experience.
  9. Alan Arkin does the best trick, bringing a dollop of humanity to the role of Rance Holloway, the magician who was young Burt's inspiration. Apart from Rance, the whole production is slovenly nonsense, photographed on the cheap with blaring ghastliness. Yet it poses an intriguing mystery. Did the producers appeal to a denominator even lower than common by making their film as dumb as possible, or did it just turn out that way?
  10. Shockingly, the kind of cringe-inducing material upon which Mr. Mazer has built a career as a writer for Sacha Baron Cohen ("Bruno," "Borat," "Da Ali G Show") doesn't work when rendered by types who could have been cast in "Notting Hill" (someone even makes a Hugh Grant joke). It's rather close to excruciating.
  11. Daisy was written without irony, wit or any grounding in reality. She's a barefooted flower child in a flatfooted fiasco.
  12. Every now and then, though, a movie comes up with a scene of surpassing stupidity, and then builds from that defining moment to a climax of perfect ineptitude. Life or Something Like It is such an achievement.
    • Wall Street Journal
  13. All the same, it's a feat to find the lowest common denominator at 40,000 feet; View From the Top would be perfect as the first in-flight offering of the new Hooters airline.
    • Wall Street Journal
  14. An appallingly tedious Hanukkah comedy that must have bubbled up from the Porta Potti of his subconscious.
    • Wall Street Journal
  15. One of the least appealing movies I've seen in a while.... When a member of the audience belched loudly, that got the biggest laugh of the day. [17 June 1986, p.26(E)]
    • Wall Street Journal
  16. If Detroit had produced an equivalent lemon, we might have been seeing the world's first one-wheeled, square-tired car with no cooling system, steering wheel or brakes.
    • Wall Street Journal
    • 16 Metascore
    • 0 Critic Score
    For the most part, the movie serves up an incomprehensible collage of high-tech voyeurism sprinkled with every hackneyed creep-out trick in the book -- from eerie little ghost girls to melting walls and scurrying cockroaches.
    • Wall Street Journal
  17. Designed as a disposable commodity, it's a film I'd dispose of with no further ado, except for what it says about minimum standards in a certain tacky niche of the movie business, as well as for what it suggests, in its lunkheaded way, about the perils that marriage may pose.
    • Wall Street Journal
  18. How could a major studio -- in this case 20th Century Fox -- put its name on a production with a dim-bulb, tone-deaf script that piles howler on howler? Why couldn't someone save poor Ms. Carey from herself?
    • Wall Street Journal
  19. This comedy is harmless, too, when measured against the vast array of harms that the world has to offer. It's also stupid, strident, witless, pitifully inept and bad for what ails you.
    • Wall Street Journal
  20. Every so often a movie transcends stupidity and soars into the empyrean of true idiocy. John Q. is such a movie.
    • Wall Street Journal
  21. Even in the month of January, traditionally a time for movie lovers to expect the worst, this cheapo feature, directed by Shawn Levy, takes the stale cake for witlessness.
    • Wall Street Journal
  22. Unlike "Dead Man Walking" and many honorable dramas before it, "David Gale" has nothing coherent to say about capital punishment, or anything else. It's a dead film lurching.
    • Wall Street Journal
  23. One of the strongest arguments yet for making sequels illegal.
    • Wall Street Journal
  24. The worst movie -- all right, the worst allegedly major movie -- of our admittedly young century. More stupefying follies may come, but it's impossible to imagine how they'll beat this one for staggering idiocy, fatuousness or pretension.
    • Wall Street Journal
  25. An abomination, impure and simple.
    • Wall Street Journal
  26. Nothing's alive in this trash-heap travesty of warm-weather entertainment, despite the frenetic pace.
    • Wall Street Journal
    • 9 Metascore
    • 0 Critic Score
    Unspeakably ghastly sequel to the merely ghastly original.
    • Wall Street Journal
  27. Domino is a new definition of a snuff movie. It snuffs out every vestige of feeling.
    • Wall Street Journal
  28. Hate is too strong an emotion to spend on such a clumsy, bloodless broadside against human foibles in general and American follies in particular.
    • Wall Street Journal

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