Wall Street Journal's Scores

  • Movies
  • TV
For 2,360 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 Please Give
Lowest review score: 0 Legends of the Fall
Score distribution:
2360 movie reviews
  1. 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
  2. Only in America, though, could filmmakers illuminate such a dire subject, and the financial debacle that ensued, with the sort of scathing wit, joyous irreverence and brilliant boisterousness that make The Big Short an improbable triumph.
  3. Little by little, though, the cluelessness grew endearing, the cross-purpose conversations intricately funny, the gritty look appealing.
  4. 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.
  5. 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.
  6. A feature-length documentary, by Dayna Goldfine and Dan Geller, of absolutely breathtaking sweep and joyous energy.
    • Wall Street Journal
  7. 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.
  8. Like Kong himself, it's imposing, sometimes endearing, and very rough around the edges.
    • Wall Street Journal
  9. 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.”
  10. 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.
  11. 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.
  12. Please see this movie, and take any kids old enough to read subtitles. It's one of a kind.
    • Wall Street Journal
  13. The World's End stands on its own as hilarious high-end nonsense.
  14. It’s a paradox worth noting, and savoring, that the most dramatic movie of the week doesn’t have a script.
    • 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.
  15. It's a fine film, full of small epiphanies.
    • Wall Street Journal
  16. Satoshi Kon, whose previous film was the remarkable "Tokyo Godfathers," uses the complex plot as a pretext for joyous psychedelia.
  17. 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.
  18. 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
  19. 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.
  20. Chiemi Karasawa's unblinking documentary feature watches Elaine Stritch struggle with the toughest role of her life—being old, and in constantly uncertain health.
  21. This is a time when urgent issues are often explored in polemic documentaries, as well as a fateful moment when the future of public education is being debated with unprecedented intensity. Waiting for 'Superman' makes an invaluable addition to the debate.
  22. Rarely have age and shining youth been juxtaposed more affectingly, but that’s only one of many moments of grace in a movie that mines its resonant mythology while moving its story ever forward.
  23. What’s so fascinating about the film is that it truly turns on the solving of problems, and its chief solver, stuck on Mars, manages to be so funny, interesting and infallibly likable that you’re invested in his predicament at every moment.
  24. Mr. Scorsese has created a Judea that is dusty and harsh, where visions in the middle of a night seem like. Some of the visual compositions are dizzyingly beautiful; the Crucifixion scene couldn't be more masterful, or heartbreaking. [11Aug 1988, p.1]
    • Wall Street Journal
    • 80 Metascore
    • 70 Critic Score
    Shows how a dedicated man ensured that great music could always be heard at its best.
    • Wall Street Journal
  25. In a minimalist film of muted emotions, Michelle Williams gives as lovely a performance as a moviegoer could ask for.
  26. This exquisite film by the Swedish master Jan Troell is about seeing clearly, and fearlessly. It's also about subdued passion, the birth of an artist and a woman's struggle to live her own life.
  27. Its true subject is melancholia as a spiritual state, a destroyer of happiness that emerges from its hiding place behind the sun, just like the menacing planet, then holds the heroine, Justine, in its unyielding grip and gives Ms. Dunst the unlikely occasion for a dazzling performance.

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