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 The Ghost Writer
Lowest review score: 0 Ferris Bueller's Day Off
Score distribution:
2,252 movie reviews
  1. Jane Campion has performed her own feat of romantic imagination.
  2. 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.
  3. 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.
  4. 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
  5. No
    Like "Argo" or "Zero Dark Thirty," the film dramatizes a fertile subject — in this instance, the language of advertising in modern politics.
  6. 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.
  7. Likely to create considerable nervous tension among viewers who think they've seen this all before. They haven't.
  8. 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.
  9. 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.
  10. We need 007, even after half a century of his ups and downs in various incarnations, to remind us how deeply pleasurable an action thriller can be. The latest addition to the Bond canon goes beyond thrilling into chilling and enthralling, plus a kind of stirring that has nothing to do with martinis.
  11. 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
  12. Little by little, though, the cluelessness grew endearing, the cross-purpose conversations intricately funny, the gritty look appealing.
  13. Director, Darren Aronofsky, and the writer, Robert D. Siegel, have turned the story of this washed-up faux gladiator into a film of authentic beauty and commanding consequence.
  14. A feature-length documentary, by Dayna Goldfine and Dan Geller, of absolutely breathtaking sweep and joyous energy.
    • Wall Street Journal
  15. The studio, like plucky Harry, passes with flying colors. The new one, directed by Mike Newell from another astute script by Mr. Kloves, is even richer and fuller, as well as dramatically darker. It's downright scary how good this movie is.
    • Wall Street Journal
    • 81 Metascore
    • 70 Critic Score
    In the musical numbers, where by rights Mr. Travolta should shine, he's almost out-danced and certainly out-charmed by Edna's better half, Wilbur (Christopher Walken), who is one of the movie's great assets, an oasis of calm amid the twisting and shouting.
  16. Like Kong himself, it's imposing, sometimes endearing, and very rough around the edges.
    • Wall Street Journal
  17. Daniel Craig isn't merely acceptable, but formidable. His Bond is at least the equal of the best ones before him, and beats all of them in sheer intensity.
    • Wall Street Journal
  18. A P.T. Anderson film is, by definition, an event, even if this one doesn’t measure up to such absurdist landmarks as Howard Hawks’s “The Big Sleep,” the Coen brothers’ “The Big Lebowski” and Robert Altman’s peerless “The Long Goodbye.”
  19. Director David Mackenzie's gripping, convincing and convincingly violent convict drama owes its authenticity largely to the experiences of ex-prison therapist Jonathan Asser, who wrote its screenplay. But the opening 10 minutes are a virtuosic example of virtually wordless filmmaking.
  20. In Woody Allen's beguiling and then bedazzling new comedy, nostalgia isn't at all what it used to be - it's smarter, sweeter, fizzier and ever so much funnier.
  21. Please see this movie, and take any kids old enough to read subtitles. It's one of a kind.
    • Wall Street Journal
  22. The World's End stands on its own as hilarious high-end nonsense.
    • 81 Metascore
    • 50 Critic Score
    There's a wonderfully sly, farcical verve to these early moments, but it dissipates when the script, with its strains of "E.T." and "The Fly," moves into high sci-fi gear.
  23. It's a fine film, full of small epiphanies.
    • Wall Street Journal
  24. Satoshi Kon, whose previous film was the remarkable "Tokyo Godfathers," uses the complex plot as a pretext for joyous psychedelia.
  25. His is a special kind of courage, and it impels him to act with special agility in a brave new world of his own making, where little tweets can challenge big lies and a blog post can echo like thunder.
  26. After two flat-out triumphs in a row, "All About My Mother" in 1999 and last year's breathtaking "Talk To Her," Pedro Almodóvar hasn't done it again. Yet lesser Almodóvar -- in this instance "Bad Education" -- is better than most of the movies we see.
    • Wall Street Journal
  27. Everything comes together brilliantly in Silver Linings Playbook - for the film's crazed but uncrazy lovers; for the filmmaker, David O. Russell, and best of all for lucky us.
  28. Chiemi Karasawa's unblinking documentary feature watches Elaine Stritch struggle with the toughest role of her life—being old, and in constantly uncertain health.

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