Wall Street Journal's Scores

  • Movies
  • TV
For 2,357 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: 59
Highest review score: 100 Inside Job
Lowest review score: 0 An American Affair
Score distribution:
2357 movie reviews
  1. Deeply affecting.
    • Wall Street Journal
  2. The silents, as this film suggests, achieved aesthetic marvels before sound came along to set things back for a while.
  3. By the end, though, the production is engulfed by barely controlled frenzy -- all decor and no air, music as lo-cal ear candy, scenes as merchandise to be sold, people as two-dimensional props.
    • Wall Street Journal
  4. Viggo Mortensen's performance is flat-out brilliant, and this relentlessly dramatic thriller represents a mid-life growth spurt for its director, David Cronenberg.
  5. At Berkeley is more than the sum of its minutes. Narration-free and artfully discursive, it's a one-of-a-kind mosaic portrait of a great institution struggling, under dire stress, to retain its essential character at a time of declining support for public education.
  6. This peculiarly predictable picture has been calculated, or miscalculated, to set up certain expectations, fulfill them, and then do the same thing again, thereby giving us a chance to see what's coming and, at least in theory, be shocked when it actually comes.
    • Wall Street Journal
  7. Watching this surrealist silliness, I would have welcomed the sight of a geezer on a riding mower.
    • Wall Street Journal
  8. I laughed myself silly through most of A Mighty Wind, and was pleasantly surprised when it took a turn toward genuine feeling near the end.
    • Wall Street Journal
  9. It's a comedy of crisp, mordant wit and quietly radiating warmth, as well as a coming-of-age story with a lovely twist -- you can't always spot the best candidates for maturity.
  10. Here's one vote for the most affecting, anguishing, revealing and prophetic scene of the movie year-and yes, it's all of those things at once in a powerful film that alternates between moments of earlier happiness and later pain.
  11. Just as Aubrey's authority springs from skill and knowledge, so does the film's power. They don't make movies like this any more because few people know how to make them.
    • Wall Street Journal
  12. This wonderfully strange and exquisite little feature was created, especially for young children, to celebrate the book through another kind of illumination that's been falling into disuse--hand-drawn animation.
  13. The film feels freshly minted because the man who made it has such a lively mind and fearless style. At a time when all too many movies are selling bleakness and dysfunction, it also feels like a revenant from Hollywood’s golden age, when an entertainment’s highest function was to entertain.
  14. Tom Hardy, the actor who plays him, is by turns spellbinding, seductive, heartbreaking, explosive and flat-out thrilling. At a time when the studios are spending vast sums of money on a bigger-is-better aesthetic, here's a chamber piece with the impact of high drama.
  15. Bridge of Spies isn’t conventionally exciting, and isn’t intended to be. Instead, it’s satisfying — thoroughly and pleasurably so.
  16. Anyone who doesn’t have a grand time watching Shaun the Sheep Movie is suffering from a fractured funny bone that needs to be reset.
  17. It's a portrait, by turns chilling, thrilling, mysterious and terrifying, of a woman who refuses to be terrorized.
  18. A droll and affecting debut feature by Tom McCarthy.
    • Wall Street Journal
  19. Foxcatcher is a radical departure from Mr. Miller’s previous feature, the smart and entertaining “Moneyball.” It isn’t meant as conventional entertainment, but it’s fascinating to watch from start to finish.
  20. The film's special mixture of sadness, comedy and hope sneaks up on you and stays in your memory.
  21. Jane Campion has performed her own feat of romantic imagination.
  22. So much movie can be made with so little plot, given sufficient humanity and dramatic tension. That's the case with Andrew Haigh's eloquent chamber piece.
  23. It's been a good while since I've seen a movie whose most powerful sequence was both unforeseen and entirely unpredictable as it played out.
  24. This musical about a plant that craves blood has a smart and snappy score -- and Steve Martin in a hilarious bit as a dentist who gives himself laughing gas as he treats his unanesthetized patients. [23 Dec 1986, p.1]
    • Wall Street Journal
  25. No
    Like "Argo" or "Zero Dark Thirty," the film dramatizes a fertile subject — in this instance, the language of advertising in modern politics.
  26. The movie comes on like a put-on--next to nothing happens for an excruciatingly long time--and ends as a fascinating dialectic between following one's conscience or following the law.
  27. Likely to create considerable nervous tension among viewers who think they've seen this all before. They haven't.
  28. The film doesn't play it safe, so neither will I. Instead, I'll say that it finds Mr. Tarantino perched improbably but securely on the top of a production that's wildly extravagant, ferociously violent, ludicrously lurid and outrageously entertaining, yet also, remarkably, very much about the pernicious lunacy of racism and, yes, slavery's singular horrors.
  29. Ana Lily Amirpour’s A Girl Walks Home Alone At Night. (What a terrific title!) This precocious, faux-primitive first feature, in Persian with English subtitles, and a sensationally eclectic score, was shot in wide-screen black-and-white, and frequently mimics the dreamlike rhythms of silent films.
  30. The links and resonances remain largely abstract -- to understand them isn't necessarily to be moved by them -- while the individual dramas of those three lives are often stirring, and the three starring performances are unforgettable.
    • Wall Street Journal

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