Wall Street Journal's Scores

  • Movies
  • TV
For 2,190 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 Sin Nombre
Lowest review score: 0 Pain & Gain
Score distribution:
2,190 movie reviews
  1. A movie of minimalist moments (Molly's tiniest gestures speak volumes) and lovely, almost holy tableaux.
    • Wall Street Journal
  2. Words of wisdom keep popping up in My Dog Tulip with gratifying regularity. They're more likely to gratify dog lovers than anyone else, but that's a large group to which I belong.
  3. No beauty contest has ever been more bizarre than the one in Gerardo Naranjo's shockingly powerful thriller.
  4. 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.
  5. A moveable feast of delights.
    • Wall Street Journal
    • 80 Metascore
    • 80 Critic Score
    After 18 seasons and some 400 episodes of their Fox TV series, the family created by Matt Groening, the family that put the dys in dysfunctional, makes a seamless transition from the shag carpet to the red carpet in the long-awaited Simpsons Movie.
  6. Every sport, and every sports film, must have its superman. The role is filled here by Laird Hamilton, who, we are told -- and, more astonishingly, shown -- took "the single most significant ride in surfing history." Seeing is believing.
    • Wall Street Journal
  7. Room 237, which goes into national distribution this weekend, may be the surpassingly eccentric — and enormously entertaining — film that Kubrick deserves.
  8. This modest little fable from Israel, in English, Hebrew and Arabic, has spellbinding resonances, yet never breaks the spell by blowing its own horn.
  9. Coraline is distinguished, if you can call it that, by a creepiness so deep as to seem perverse, and the film finally succumbs to terminal deficits in dramatic energy, narrative coherence and plain old heart.
  10. The result is a movie more concerned with movie-making than with the stuff of Sterne's great book, but a movie that's good for lots of laughs if you share its fondness for actors and for fatuous actors' banter, which I do.
    • Wall Street Journal
  11. Many movies these days are too long; this one, at 90 minutes, feels too short. That's because its purpose is so sharply defined: a tight close-up, in black and white, of a single, seminal moment -- a black and white moment -- in American history, and American journalism.
    • Wall Street Journal
  12. As Crowhurst's situation grows desperate, the scope of the film expands -- from a good yarn to a haunting, complex tale of self-promotion, media madness, self-delusion and, finally, self-destruction.
  13. Like earlier Dardenne films, Lorna’s Silence is naturalistic, yet this one, beautifully shot in 35 mm film by Alain Marcoen, achieves a poetry of bereftness.
  14. Operates in an orbit somewhere between Oliver Sacks and Lewis Carroll. I can't remember when a movie has seemed so clever, strangely affecting and slyly funny at the very same time.
    • Wall Street Journal
  15. While the film itself isn't perfect, who cares about perfection in the face of abundant life, authentic screwiness and lovely surprises by the busload?
  16. Mike Leigh's latest film preserves the mystery of why another marriage has flourished over decades. That's not the stated subject of Another Year, but it's at the center of this enjoyable though insistently schematic comedy.
  17. Ms. Berg's film, which she wrote with Billy McMillin, tells the story with unprecedented clarity. She has a dramatist's eye for what was irretrievably lost-the innocent lives of the children, plus 18 years of three other innocent lives.
  18. A huge delight.
  19. Though his movie wraps challenging ideas and ingenious visual conceits in a futurist film-noir style, it's pretentious, didactic and intentionally but mercilessly bleak in ways that classic noir never was.
    • Wall Street Journal
  20. What Ron Howard gets, to a degree that's astonishing in a two-hour film, is the density and complexity, as well as the generous entertainment quotient, of Peter Morgan's screenplay.
  21. What's most rewarding, though, is that Mr. Senna speaks extensively and eloquently for himself, and reveals himself to be an eminently human hero. He's thoughtful, even philosophical, about decisions that deprive him of seemingly well-earned victories.
  22. It's tempting to see Beyond the Hills solely as an indictment of religion, but the film is more ambitious than that. Ignorance and superstition aren't confined to the convent; people in town, including the cops, drop casual references to witchcraft as if it were part of everyday life. The broader subject is possession by primitive ideas.
  23. The Sessions is admirable, and often enjoyable, yet self-limiting in concept. It's exactly about what it sets out to be about - no less but no more.
  24. Watch them march to the very extremes of extremis, though, and it's easy to feel awe.
    • Wall Street Journal
  25. Seduces us with its leisurely pace and felicitous details into believing that something miraculous is afoot in a mundane rural community.
    • Wall Street Journal
  26. It's not fair to say that Ms. Davis steals scenes - one of the movie's strengths is its ensemble cast - but she supercharges every scene she's in.
  27. Pride may not be a model of impeccable craftsmanship, but it's a fine example of turning a terrific subject into a gleeful event. It's also an example of the power of entertainment — of entertainment within entertainment.
  28. Genuinely and irresistibly inspirational.
  29. Hotel Rwanda isn't impersonal, even though it only hints at the story's full horror. It's stunning.
    • Wall Street Journal

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