Wall Street Journal's Scores

  • Movies
  • TV
For 2,229 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 2.6 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 Flipped
Score distribution:
2,229 movie reviews
  1. Reasonably entertaining time-travel romance.
    • Wall Street Journal
  2. Although mood often substitutes for momentum in Ms. Kalem's film, both of her stars give affecting performances, and there's growth on both sides of the unlikely romance.
    • Wall Street Journal
  3. Oz the Great and Powerful, like so many products of movie studios that have lost their way, is a Tin Man of epic proportions — bright and shiny, with no heart.
  4. Todd Graff's would-be inspirational film lift their voices in song that makes you smile, and squander their voices on dialogue that makes you cringe (but also smile in oddly pleasurable disbelief).
    • 44 Metascore
    • 50 Critic Score
    Jackie Chan and Chris Tucker have been through a lot together. To be exact, "Rush Hour" "Rush Hour 2" and now Rush Hour 3. Are they tired? Perhaps not, but their antics and action sequences certainly are.
  5. Some of it sputters, settling for smiles instead of laughs, and much of it flounders while the slapdash script searches, at exhausting length, for ever more common denominators in toilet humor.
  6. Littered with low points -- lame comedy, dubious history, fumbling drama and a love story so inept as to make a pacifist long for war.
    • Wall Street Journal
  7. Choose to pass this one up.
    • Wall Street Journal
  8. If claustrophobia's your style, The Jacket is a perfect fit.
    • Wall Street Journal
  9. It's a bad idea done disastrously.
    • Wall Street Journal
  10. Stepping is everything in Stomp the Yard, and, dare I say it, a stepping stone to DJ's redemption. The movie itself is redeemed -- slightly -- by its almost touching devotion to the hoary Hollywood traditions of college movies with battling frats, as well as its earnest endorsement of education.
    • Wall Street Journal
  11. The movie as a whole is nonsensical. And long. And slow. And head-poundingly loud as it culminates in slavering horror.
    • Wall Street Journal
  12. The movie itself is neither a catastrophe nor major.
    • Wall Street Journal
  13. The director Penny Marshall has a gently persuasive touch that keeps the movie's most brazen manipulations from being too offensive. [02 Jun 1994]
    • Wall Street Journal
  14. Every scene in this oppressive film has a theme or didactic purpose, but little life.
    • Wall Street Journal
  15. In addition to being borderline unendurable, Funny Games is inexplicable, and I don't mean in any philosophical sense.
  16. This is silliness of such a special grade, performed with such zest, that it makes you forgive and even forget the movie's foolishness and borderline incoherence.
    • Wall Street Journal
  17. To give the film its full due, the people who made it — the writer, John Swetnam, and the director, Steven Quale — got wind of a genuine trend and ran with it. Everyone on screen is busy filming everyone else. It's a shakier-camera version of "The Blair Witch Project" in the era of YouTube.
  18. A wispy, fundamentally sentimental tale about a nice girl who has to support herself by working as a phone-sex siren, Spike Lee's movie takes the better part of an hour to get started. Once it does it still can't dramatize the script's one good idea. [2 Apr 1996, p.A12]
    • Wall Street Journal
  19. What was fresh and surprising in Las Vegas turns rancid and predictable in Bangkok.
  20. Since Mary rarely gets to see any of the good stuff, neither do we; Dr. Jekyll hides most of his switcheroos behind closed doors. [23 Feb 1996]
    • Wall Street Journal
  21. Somewhat sluggish but reasonably scary.
    • Wall Street Journal
  22. This is one of those overworked and generally airless comedies with a sitcom premise that can't sustain life.
  23. It's bad enough to make parable a four-letter word.
    • Wall Street Journal
  24. In case you were holding your breath, Renée Zellweger's Bridget Jones is still sweetly earnest, chronically overweight and swinging once again from lovestruck to lovelorn.
    • Wall Street Journal
  25. Fitfully amusing.
    • 44 Metascore
    • 50 Critic Score
    Its crackly sarcasm and smart talk turn out to be simply coating for a soft, icky, center.
  26. In addition to all else, and it's a lot, The Losers wastes the riches of Hollywood technology in hot pursuit of nothing.
    • 44 Metascore
    • 60 Critic Score
    Amusing enough, especially with its uniquely credible premise of a media fraud, to recommend.
    • Wall Street Journal
  27. In the not-so-grand scheme of such things, Along Came Polly is certainly harmless, and occasionally very funny. It's just not clever enough to keep you engaged.
    • Wall Street Journal

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