Wall Street Journal's Scores

  • Movies
  • TV
For 2,126 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 2.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Sin Nombre
Lowest review score: 0 How Do You Know
Score distribution:
2,126 movie reviews
  1. Demanding, quietly breathtaking film.
  2. 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.
  3. 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.
  4. 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.
  5. 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]
    • 83 Metascore
    • 90 Critic Score
    A deeply moving story of resilience and redemption.
  6. 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.
  7. 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.
  8. The situation is fascinating, and given an illuminating investigation here.
  9. Awash in terrific performances.
  10. It's powerful entertainment. [22 Sept 1992, p.A16(E)]
  11. It's exciting, stirring, often funny, sometimes lyrical and unusually thoughtful. And, with that one egregious exception, genuinely pleasurable.
  12. Thrillers aren't always so thrilling, but Tell No One is -- and absorbing, sometimes perplexing and often stirring as well.
  13. Exquisite images, poignant humor, echoes of cinema history and a sense of having watched genuine magic.
  14. 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.
  15. 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.
  16. 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.
  17. Duma is not a masterpiece, but its deficits recede into insignificance once you open yourself to the movie's mystery and visual splendor.
    • 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.
  18. 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.
  19. The picture sets up high expectations for itself with its wonderful casting, and the actors don't disappoint. [1 Aug 1989, p.1]
  20. The price of the production's integrity is a leisurely pace -- but it's a worthwhile one. Though Sugar demands patience, it deserves attention.
  21. Some of Mr. Loach's earlier feature films have been easier to admire than to enjoy. This one, which won the Palme d'Or at last year's Cannes Film Festival, fairly vibrates with dramatic energy.
  22. Still, the cynosure of all eyes is honest, articulate Elizabeth, her own woman in an era when women belonged to men, and at the same time full of love. Lizzie is the best, and Keira Knightley does right by her.
  23. A magnificent documentary that flies us along with migratory birds on their intercontinental travels, it's the polar opposite -- North Pole, South Pole and all latitudes in between -- of modern feature films that rely on special effects.
  24. The absence of any nuance in the father's character bespeaks the filmmaker's unwillingness to trust his audience. Making the movie may have been therapeutic for him, but I can't say the same about watching it.
  25. This joyous farce is a big, big deal, and Jack Black is nothing less than majestic as a scruffy, irreverent rocker passing himself off as a pedagogue in a private school.
  26. With his co-writer, Randy Sue Coburn, and composer Mark Isham, director Alan Rudolph has created a sense of time and place that authentically conveys what it might have been like when writers were celebrities and special effects came from words. [10 Jan 1995, p.A18]
  27. This immensely pleasurable film is anything but dry. It's a saga of the immigrant experience that captures the snap, crackle and pop of American life, along with the pounding pulse, emotional reticence, volcanic colors and cherished rituals of Indian culture.
  28. Frances Ha also marks the rare instance in which an actress has the perfect role at the perfect time. Ms. Gerwig's work here is fragile, delicate, subject to bruising; something that could wither under too much attention. Perhaps Ms. Gerwig is the greatest actress alive. And maybe Frances Ha is just the ghost orchid of independent cinema.

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