Wall Street Journal's Scores

  • Movies
  • TV
For 2,190 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 2.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Sin Nombre
Lowest review score: 0 Pain & Gain
Score distribution:
2,190 movie reviews
  1. 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.
  2. [(Cher's) never been better. [5 Jan 1988, p.22(E)]
    • Wall Street Journal
  3. 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.
    • Wall Street Journal
  4. This film is cunningly crafted in every detail--direction, script, performances, comic timing, special effects--from thunderous start to delicious finish.
  5. 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.
  6. 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.
  7. Here's an entertainment to warm the heart of anyone who grew up (or failed to) on the formative joys of action movies.
    • Wall Street Journal
  8. 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.
    • Wall Street Journal
  9. Demanding, quietly breathtaking film.
    • Wall Street Journal
  10. 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.
  11. 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.
    • Wall Street Journal
  12. What's so affecting about him in the film, though, is that he doesn't seem monstrous at all. To the contrary, Iron Mike, having meted out epic suffering in the ring and other venues, seems to be a man who has suffered genuinely, even terribly, in the course of a life that he never believed would last 40 years.
  13. As director, Mr. Branagh and his cameraman have chosen to shoot his film tight and drab, a style that allows the actors to speak the poetry without affect. Nothing's prettified. [09 Nov 1989]
    • Wall Street Journal
    • 83 Metascore
    • 90 Critic Score
    A deeply moving story of resilience and redemption.
  14. An elegant horror film, starring Johnny Depp and Helena Bonham Carter, that takes pleasure in its own theatricality, gives pleasure with caustic wit, trusts the power of Stephen Sondheim's score and exults in flights of fancy that only a movie can provide.
    • Wall Street Journal
  15. What's on screen, though, is a peculiar clutter of gentle sentiment, awkward dialogue, shaky contrivance — especially the resolution of Joey's feelings — and monotonous performances from a supporting cast that includes Marisa Tomei and Darren Burrows.
  16. Zachary Heinzerling's feature-length documentary gathers force slowly, but with such wisdom and calm mastery that I found myself stunned, toward the end, by the beautiful vastness of it all.
  17. The situation is fascinating, and given an illuminating investigation here.
  18. Awash in terrific performances.
    • Wall Street Journal
  19. It's powerful entertainment. [22 Sept 1992, p.A16(E)]
    • Wall Street Journal
  20. It's exciting, stirring, often funny, sometimes lyrical and unusually thoughtful. And, with that one egregious exception, genuinely pleasurable.
  21. Thrillers aren't always so thrilling, but Tell No One is -- and absorbing, sometimes perplexing and often stirring as well.
  22. Exquisite images, poignant humor, echoes of cinema history and a sense of having watched genuine magic.
  23. Denis Villeneuve's screen adaptation of a play by the Lebanese-Canadian playwright Wajdi Mouawad tells a story-masterfully-of courage, cruelty, family mysteries and a chain of anger that can only be broken by love.
  24. Gives us the same sort of perverse pleasure that's been a staple of "60 Minutes" over the years -- watching world-class crooks tell world-class lies.
    • Wall Street Journal
  25. Years after its initial release, Ornette: Made in America, part of Milestone's continuing "Project Shirley," still feels fresh - its moves always surprising, yet always somehow perfect.
  26. Duma is not a masterpiece, but its deficits recede into insignificance once you open yourself to the movie's mystery and visual splendor.
    • Wall Street Journal
    • 82 Metascore
    • 50 Critic Score
    In the end, The Constant Gardener is hardly more than yet another study of white, upper-middle-class martyrdom rather than the hard look at third-world suffering it might've been.
    • Wall Street Journal
  27. Short Term 12, a low-budget feature only 96 minutes long, is a big deal on a small scale: for what it reveals of Mr. Cretton as a filmmaker — especially as a storyteller, and a director of actors within tautly constructed scenes — and of Ms. Larson's abundant talent.
  28. The picture sets up high expectations for itself with its wonderful casting, and the actors don't disappoint. [1 Aug 1989, p.1]
    • Wall Street Journal

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