Wall Street Journal's Scores

  • Movies
  • TV
For 2,281 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 2.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Amores Perros
Lowest review score: 0 Henry Fool
Score distribution:
2,281 movie reviews
  1. 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.
  2. 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.
  3. Mr. Walken performs with a marvelously minimalist precision.
    • Wall Street Journal
  4. 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
  5. 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
  6. 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.
  7. 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.
  8. 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.
  9. A deadly earnest and deadly dull psychological thriller.
  10. The production's penchant for contrivance is insufferable - not a single spontaneous moment from start to finish - and the boy is so precocious you want to strangle him. It's surely not the fault of Thomas Horn, the remarkable young man who plays him.
  11. This fairy tale is a weirdly enchanting mixture of old-fashioned whimsy and up-to-the-minute special effects. It brings back the early excitement of reading as a child, when the act of turning pages took on a magical quality. [19 Jul 1984, pg.1]
    • Wall Street Journal
  12. Can't hold a candle to Robert Altman's 1992 comedy "The Player." Both films present themselves as knowing views of the movie business, but Mr. Altman and his writer, Michael Tolkin, really knew.
    • Wall Street Journal
  13. Little more than a showcase for Owen Wilson's amiable shtick, and a showcase in the merchandising sense of the term.
    • Wall Street Journal
  14. Hate is too strong an emotion to spend on such a clumsy, bloodless broadside against human foibles in general and American follies in particular.
    • Wall Street Journal
  15. No need to belabor the awfulness of this film, a romantic comedy devoid of romance - instead of chemistry there's the flow of reverse magnetism - and lacking in comic timing, let alone comic content.
  16. I took it as a pretty piece of ephemera, and I must confess that I laughed a lot.
    • Wall Street Journal
  17. Secret Window has an ending that lets one of our most reliably interesting actors pull out all the stops. But getting there from a good beginning followed by a slow, repetitive middle is a test of resourcefulness for him and a test of patience for us.
    • Wall Street Journal
  18. It’s billionaire-glossy, as much an ode to consumerism as a study in sadomasochism; intermittingly titillating, with fugitive flashes of droll; and, bondage apart, a dutifully romantic tale of an old-fashioned girl who takes a particularly roundabout route to true love.
  19. Even as a visual aid, though, The Da Vinci Code is a deep-dyed disappointment. Paris by night never looked murkier.
    • Wall Street Journal
  20. As long as this deity remains childish, materialistic and narcissistic, Jim's in his heaven and all's right with the world. It's when the story reaches for maturity, spirituality and altruism that the divine spark of comedy sputters and nearly goes out.
    • Wall Street Journal
  21. It's thanks to her (Leoni) that we stay tuned to Mr. Allen's comic premise long after it has gone from delightfully outrageous to off-puttingly preposterous.
    • Wall Street Journal
  22. Horns is uncertain in tone — most of its attempts at humor fall flat — and amateurish at best.
    • 46 Metascore
    • 50 Critic Score
    Ok, so maybe you don't absolutely have to have a Y chromosome and be 14 years old (or have the mind of a 14-year-old) to appreciate the freshmanic humor that is Beerfest. But, oh, does it help.
    • Wall Street Journal
  23. The source of this movie's energy is near-perpetual desperation. You can see it in Tom Cruise's fixed grin, and in the mad proliferation of unspecial effects.
  24. Short on dramatic energy, Must Love Dogs settles for a cheerful drone.
    • Wall Street Journal
  25. All that's missing is wit and humanity.
    • Wall Street Journal
  26. By all that's unholy, this third edition of the high-emission franchise should have been at least as awful as the second one was. (The first one was good fun.) Yet it's surprisingly entertaining in its deafening fashion, despite the absence of Vin Diesel and Paul Walker, the co-stars of parts one and two.
    • Wall Street Journal
  27. Enjoyable enough for what it is, a clever idea developed by fits and starts.
  28. When director Richard Attenborough isn't mangling dance numbers, he's focusing on a love story expressed almost entirely by means of close-ups of moony faces and teary eyes. [12 Dec 1985]
    • Wall Street Journal

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