Wall Street Journal's Scores

  • Movies
  • TV
For 2,533 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: 60
Highest review score: 100 A Hijacking
Lowest review score: 0 Bedtime Stories
Score distribution:
2533 movie reviews
  1. Part 2 of The Deathly Hallows, is the best possible end for the series that began a decade ago.
  2. There are worlds within the startling world of Murderball.
    • 87 Metascore
    • 90 Critic Score
    Mr. Herzog's perspective is an invaluable balance to Mr. Treadwell's as the animal advocate approaches what seems like madness.
    • Wall Street Journal
  3. Never before, though, have statistics added up to such electrifying entertainment. After the mostly minor-league productions of recent months, this movie, which was directed by Bennett Miller, renews your belief in the power of movies.
  4. This isn’t only a wise and graceful film but, in its tossed-off way, a great one, with a debut performance — by a young actress named Lou Roy-Lecollinet — that will prove to be unforgettable.
  5. Mr. Ostlund positions his troubled characters in an environment of polished ash and Scandinavian spotlessness, under which there are dark mutterings — the constant creak of tow cables and un-oiled metal.
  6. By turns intriguing, boring, frustrating, amazing and stirring, this is a tour de force that, necessarily, lacks dramatic force, but one that creates a dream state of seemingly limitless dimensions.
    • Wall Street Journal
  7. Mr. Day-Lewis works famously, and phenomenally, from the inside out. The mystery at the core of his gorgeous performance, which is enhanced by Mr. Kushner's script, has to do with his masterly grasp of Lincoln's quicksilver spirit.
  8. Where the film shines is in its vivid and affecting portrait of Tillman himself. Instead of the square-jawed hero memorialized by the army and lionized by the news media, we get to know a man of many gifts for many seasons.
  9. This drama is as big as all outdoors in scope; poetic and profound in its exploration of the senses; blessed with two transcendent performances, by Brie Larson and Jacob Tremblay; and as elegantly wrought as any film that has come our way in a very long while.
  10. What's extraordinary is what happens at the intersection of Mr. Payne's impeccable direction and Mr. Nelson's brilliant script. The odyssey combines, quite effortlessly, prickly combat between father and son.
  11. Slumdog Millionaire is the film world's first globalized masterpiece.
  12. It is thoughtful, unfashionable, measured, mostly honest, sometimes clumsy or remote, often exciting, occasionally moving and eventually surprising. It's correct.
    • Wall Street Journal
  13. What you call Mr. Shults’s first film is spectacular.
  14. As a director, working with actors, she may have drawn on her own experience acting in features and TV; whatever her method, she has come up with a matched pair of terrific performances.
  15. I was riveted by the performance of Paulina García, the great Chilean actress who plays Tony’s beleaguered mother. To watch her is to see exactly how less can be more. Instead of acting, she allows her character to reveal her thoughts in words that are all the more powerful for being few, far between and softly spoken.
  16. A thrillingly funny and casually profound film.
  17. Go underground with magic glasses on your nose and you won't regret it.
  18. What's so remarkable about their decadeslong campaign, though, is how desperation led to inspiration - to the inspired notion that they, as nonscientists, could still take their fate in their own hands.
  19. The kind of movie they don't make any more -- a seriously beautiful, deliberately paced drama that meanders for a while at the pace of a summer romance, then explodes with phenomenal force.
    • Wall Street Journal
  20. More than anything, Of Gods and Men is a drama of character, and warm humanity.
  21. Deliver Us From Evil has its flaws. Certain passages are diffuse, others are argumentative, and there's a discomfiting staginess to the climax... Yet the film's concern for the victims, and their families, is one of its strengths.
    • Wall Street Journal
  22. This exquisite animated feature, directed by Michael Dudok de Wit, has no dialogue, only the sounds of water, wind and birds, the occasional strains of Laurent Perez del Mar’s graceful score; and images of a young castaway living out the stages of his life on a desert island after giant storm waves hurl him onto a beach.
  23. The results are nothing less than sensational.
  24. Mr. Frears is as good with the small touches as he is with the big ones – and that means they're great. [24 Jan 1991, p.A8(E)]
    • Wall Street Journal
  25. Beautiful (sometimes sublimely so), daring (sometimes outrageously so), seriously crazed and terrifically funny.
    • Wall Street Journal
  26. Paul Thomas Anderson's remarkable sixth feature addresses, by extension, the all-too-human process of eager seekers falling under the spell of charismatic authority figures, be they gurus, dictators or cult leaders. Or, in the case of this masterly production, a couple of spellbinding actors.
  27. The explosively combative young hero, Liam (a brilliant performance by Martin Compston), has only the illusion of a fighting chance. Yet Sweet Sixteen is powerful because of the searing honesty with which it strips Liam of his illusions.
    • Wall Street Journal
  28. This brilliant satire, styled as a murder mystery, is the best insider's view of Hollywood since "Sunset Boulevard." [15 Dec 1992, p.A16(E)]
    • Wall Street Journal
    • 86 Metascore
    • 90 Critic Score
    If the plot of Ponyo is small as a minnow, its themes--the relationship between parent and child, between the young and the elderly, between friends, between man and nature--are large and fully realized.

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