Wall Street Journal's Scores

  • Movies
  • TV
For 2,091 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 2.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Buck
Lowest review score: 0 The Love Guru
Score distribution:
2,091 movie reviews
  1. Much of the time, though, you're transfixed by the beauty of a spectacle that seems all of a piece. Special effects have been abolished, in effect, since the whole thing is so special.
  2. A captivating entertainment for the holiday season and well beyond.
    • 83 Metascore
    • 70 Critic Score
    It’s the hilarious tumble of words--the sly cultural references, astonishingly creative invective, the veritable arias of profanity--that gives the film an unexpected heft.
  3. One of the great films of our time, or any other.
  4. Recreates the Taliban era with chilling details and startling beauty, and follows its terrified heroine on a journey that no child should have to take.
  5. Star Trek goes back to the legend's roots with a boldness that brings a fatigued franchise back to life.
  6. I loved this movie, and I wish it could be seen by all those kids who turn out every weekend for shoddy studio comedies that show them who they'd like to be. Raising Victor Vargas shows young lovers as they are.
  7. More persuasively still, Blackfish — an Indian name for orcas — argues against the very concept of quasiamusement parks like SeaWorld that turn giant creatures meant for the wild into hemmed-in, penned-up entertainers.
  8. What makes the film enthralling is the wisdom and grace with which it addresses the twin subjects of grief and healing, and the quiet beauty of Mohamed Fellag's performance in the title role.
  9. This stop-action animated feature is downright sweet and tender, as well as all the other things we've come to expect from him -- funny, bizarre, graphically stunning and blithely necrophilic.
  10. For the most part, though, the real people - the movers and shakers of Nim's world - are there to speak for themselves in the present as well as the past, and the main ones are, with a conspicuous exception, a sorry, self-serving lot.
  11. A magnificent movie. [19 Oct 1993, p.A18(E)]
  12. A lot of talent to lavish on a single movie, but the result is uncommonly smart for the genre, and not just smart but tremendously enjoyable.
  13. What's on screen is a gorgeous grab bag of notions: ardent love, a salute to Thomas Mann's "The Magic Mountain," a bit of "Camille" and a lot — I mean a lot — of nuts-and-bolts stuff about nuts and bolts.
  14. It's a new and inspired vision of a familiar state of being -- teenage anomie amidst the crumbling wreckage of a middle-class American family. In the space of 78 minutes, Mr. Van Sant and his cinematographer, the peerless Christopher Doyle, manage to suffuse that state with haunting sadness, ubiquitous danger, pulsing power and flickers of hope.
  15. The images captured by the film - dancers in theatrical sets, dancers in surreal exterior settings - are deeply scary for their loneliness and pain, and crazily thrilling for the intensity of their joy.
  16. A phenomenal debut feature with a terrific title, David Michôd's Animal Kingdom is both a study in Darwinian survival-in this case survival of the shrewdest-and a group portrait of ruthless predators in the underworld of Melbourne, Australia.
  17. Visually Hugo is a marvel, but dramatically it's a clockwork lemon.
  18. The film succeeds on its own terms — an exciting entertainment that makes us feel good about the outcome, and about the reach of American power, rather than its limits. Yet the narrative container is far from full. There isn't enough incident or complexity to sustain the entire length of this elaborately produced star vehicle.
  19. With someone else in the central role, Gloria might have been cloyingly sentimental or downright maudlin. With Ms. García on hand, it's a mostly convincing celebration of unquenchable energy.
  20. [(Cher's) never been better. [5 Jan 1988, p.22(E)]
  21. The most elegantly crafted and confidently directed of all his (Cronenberg's) films, it's a calm, chilling portrait of a blighted soul and, just as calmly but quite stunningly, an evocation of the thought processes behind the blight.
  22. This film is cunningly crafted in every detail--direction, script, performances, comic timing, special effects--from thunderous start to delicious finish.
  23. This unique enterprise, which began as a documentary experiment almost a half century ago, has grown into an inspiring testimonial to the unpredictability of the human spirit.
  24. The best of Up in the Air--meaning most of it--is right up there with the fresh and sophisticated comedies of Hollywood's golden age.
  25. Here's an entertainment to warm the heart of anyone who grew up (or failed to) on the formative joys of action movies.
  26. As an evocation of English working-class life half a century ago, it feels utterly authentic, and is ennobled -- not too strong a word, I think -- by Imelda Staunton's performance in the title role.
  27. Demanding, quietly breathtaking film.
  28. What makes The Flat mesmerizing is its wealth of historical detail. What makes it universal is what it says about families everywhere - that children, being children, don't want to know what their parents are up to, and that grown-ups, being human, don't want to credit troubling facts that conflict with what they need to believe.
  29. See The Magdalene Sisters for its own sake; the performances alone are inspirational. But see it too as an example of how powerful a feature film still can be in the hands of an impassioned filmmaker.

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