Wall Street Journal's Scores

  • Movies
  • TV
For 2,305 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 2.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Pan's Labyrinth
Lowest review score: 0 Legends of the Fall
Score distribution:
2,305 movie reviews
  1. A remarkably ill-advised remake.
    • Wall Street Journal
  2. Seldom has grandeur struggled so mightily, and fruitlessly, with rampant goofiness.
    • Wall Street Journal
  3. The movie has the cartoonish realism of a Muppet movie. However, Mr. Herman is no Kermit the Frog, although he made me feel like Oscar the Grouch. [13 Aug 1985, p.1]
    • Wall Street Journal
  4. Spasms of kung fu wire fighting, Spider-Man acrobatics, huge explosions and a lethal polo game can't replace the first film's beating heart and witty soul.
    • Wall Street Journal
  5. Max
    This fine and welcome piece of family entertainment, directed by Boaz Yakin from a script he wrote with Sheldon Lettich, gets to a sweet spot by way of a smart premise, patriotic undertones and a coming-of-age story that’s downright stirring.
  6. Katherine Heigl carries 27 Dresses when all else fails, which it does with great regularity.
    • 47 Metascore
    • 40 Critic Score
    The movie moves at such an agonizingly stately pace that by the end, side effects be damned, Henry's time-traveling gene starts to look mighty appealing.
  7. The movie's leisurely, elegant setup makes its action payoff seem, by contrast, particularly mechanical, cynical and grotesque.
    • Wall Street Journal
  8. Mr. Sayle's portrait is painfully unfunny, and the movie as a whole is a plodding polemic.
    • Wall Street Journal
  9. What's so unfunny about peace, love and understanding? Plenty, it turns out. But for much of the movie, viewers will be asking themselves where the conflict is. And, by extension, the drama.
  10. Unfortunately, the movie could use a bit of pachyderm memory, given its habit of flashing back to Tien's childhood with exactly the same footage used in previous flashbacks. Instead of the narrative being deepened, it keeps getting shallowed.
  11. These are very small pleasures, indeed, that can be taken as gasps of air in a movie that unwinds for what seems like forever in a complete vacuum. [23 Jun 1994, p.A12]
    • Wall Street Journal
    • 47 Metascore
    • 50 Critic Score
    A very goofy movie that makes sense only to the screenwriter and his next of kin.
    • Wall Street Journal
  12. What's not fine is the dead zone occupied by the monster of the piece, Tom Cruise's veteran rocker, Stacee Jaxx.
  13. This Flubbery fantasy won't win any prizes for elegant craftsmanship or originality, but it's entertaining, good-natured and a slam dunk to be a hit with young kids.
    • Wall Street Journal
  14. With all its misfires, though, and with a Strangelovian twist that's a dud, Big Trouble remains a reasonably pleasant way to spend an hour and a half and still get change.
    • Wall Street Journal
  15. Combines silly stuff about life in Los Angeles with buoyant energy, a couple of chases worthy of the Keystone Kops and quick-witted actors playing droll characters with obvious affection.
    • Wall Street Journal
  16. Grindingly tedious.
    • Wall Street Journal
  17. A misshapen semi-spectacle that seems to be simulating an epic, and getting away with it only occasionally.
    • Wall Street Journal
  18. Joyless and airless suspense thriller.
  19. If you're looking for logic or finesse, The A-Team can be numbing. If you're looking for good cheer, hold out for egg nog at Christmas. But if you're a fan of causeless effects, consequence-free causes and digital Dada, let the silly times roll.
  20. Whatever possessed the people who made this film to believe its ponderous style would appeal to contemporary audiences? One answer may lie in a variant of the mostly true proposition that no one sets out to make a bad film. No one chooses ponderousness as a goal; it comes unbidden, with deadly earnestness.
  21. Mr. Walken performs with a marvelously minimalist precision.
    • Wall Street Journal
  22. Bleak, remarkably turgid, tediously violent, devoid of drama, deprived of magic, stripped of romance and, except for one of the oddest boy-meets-girl scenes in movie history, a befuddled and befuddling excuse for entertainment.
    • Wall Street Journal
  23. There weren't any surprises and that's what made it all so comforting. The bad guys got blown away, no questions asked, the snoopy journalists got their comeuppance. When Clint spends the night with his latest girl, you know it only because he wears the same suit the next morning. [21 Jul 1988, p.1]
    • Wall Street Journal
  24. One could argue that the target audience - black teenagers, Mr. Lucas has said - might be most receptive to a film that conveys history through contemporary entertainment. But this isn't contemporary entertainment, it's antiquated kitsch reprocessed by the producer's nostalgia for the movies of his boyhood. The story has been stripped of historical context - don't black teenagers and everyone else deserve hard facts? - and internal logic.
  25. The production as a whole is awfully clumsy, and Ms. Moretz, who is only 17, needs more help than she gets from the first-time feature director, R.J. Cutler.
  26. A remarkably dislikable film, long on atmosphere -- I admired Dion Beebe's brooding cinematography -- and desperately short on vitality.
    • Wall Street Journal
    • 46 Metascore
    • 30 Critic Score
    So tightly constructed of clichés, stereotypes and chick-lit tropes that it's inert; no fresh air can blow in.
  27. A deadly earnest and deadly dull psychological thriller.

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