Wall Street Journal's Scores

  • Movies
  • TV
For 2,572 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 2.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Unstoppable
Lowest review score: 0 Superbabies: Baby Geniuses 2
Score distribution:
2572 movie reviews
  1. If only there'd been a chance to contemplate the legend in blessed silence.
    • Wall Street Journal
  2. There's so much of so many flavors of cleverness — a surfeit of surfeits — that sensory overload causes aesthetic suffocation.
  3. The director, Arie Posin, and his co-writer, Matthew McDuffie, have tried to do with their film — fill a bare-bones version of the Hitchcock film with an illusion of life. They do succeed sporadically.
  4. I have an aversion to such intricately interlocked movies as "Babel" or "Crash" -- for all their pretensions and astral connections they're basically stunts -- and my feelings about Jellyfish are much the same. But this film is handsomely made, and I won't soon forget the almost Jungian image of a wide-eyed child -- emerging from the sea with a red and white lifesaver around her little belly.
  5. Of all the performances in a patchy production, only one achieves perfection. We get to see it through the modern medical miracle of ultrasound.
  6. It's just a little film that strives to be likable, and is less so than it might have been.
    • Wall Street Journal
    • 49 Metascore
    • 50 Critic Score
    Earnest but deeply flawed.
    • Wall Street Journal
  7. This is all very strange and a little tedious. Yet there is something arresting and oddly poignant in Mr. Van Sant's playful vision of the road to nowhere. [3 Oct 1991, p.A14(E)]
    • Wall Street Journal
  8. The big difference is that "The Exorcist" took the nation by storm with fresh ideas and brilliant filmmaking. The Conjuring conjures with amped-up echoes of old ideas, and represents a bet that they still retain their creepy appeal for today's audience.
  9. The more I thought about it, the less I liked what it turned out to be -- a vague promise unkept.
  10. Seldom has such a glittering wagon been hitched to such dull stars.
  11. I like Mr. Gordon-Levitt a lot as an actor, and I wish him only the best in his future work as a filmmaker. There is, however, the matter of this particular movie, an overheated disquisition on the pleasures and limitations of masturbation.
  12. Jack's problem is that he's a commoner, but the movie's problem is that its script is commoner still, an enchantment-free pretext for animated action, straight-ahead storytelling and ersatz romance.
  13. W.
    In spite of Josh Brolin's heroic efforts, W. is a skin-deep biopic that revels in its antic shallowness.
  14. Coraline is distinguished, if you can call it that, by a creepiness so deep as to seem perverse, and the film finally succumbs to terminal deficits in dramatic energy, narrative coherence and plain old heart.
  15. Too many mind and the story grows tedious or absurd. No mind and the spectacle suffices.
    • Wall Street Journal
  16. The movie doesn't shed much light on their famously contentious marriage. Instead, it spreads gloom all around.
    • Wall Street Journal
  17. Trouble With the Curve finally finds its zone when Gus and Mickey find the young baseball prodigy they've been looking for. That doesn't happen until the narrative's last inning, though, too late to save the movie. I'd call it "Neanderthalball."
  18. For all its immersion in the roar, grease and danger of Formula One, the fact-based Rush — about the sport's great rivalry of the 1970s — is also more predictable than a pit stop, something well-suited to Mr. Howard. He's made perfectly palatable pictures, but never a truly great one, partly because he has such a weakness for the commercial and a consequent gift for the obvious.
  19. But Samba’s personality, intriguingly volatile for a while, turns unpredictable, with no coherent center, as suspicion grows that the film’s stylistic shifts — including a genial parody of a well-known Coke commercial — are little more than pretexts for showing what its multitalented star can do.
  20. Shallow down inside, End of Watch is a music-video Frappuccino of quick cuts, sparkling banter, serial crises, grisly violence and tongue-jerk profanity. But the film is exciting, in its manipulative way, and exhausting.
  21. It's sad to see a promising fantasy turn into yet another industrial-scale fantasy-delivery system that beats up on its audience with mindless intensity and undercuts its own humanity -- and caninity -- in the process.
    • 81 Metascore
    • 50 Critic Score
    There's a wonderfully sly, farcical verve to these early moments, but it dissipates when the script, with its strains of "E.T." and "The Fly," moves into high sci-fi gear.
  22. Total fluff, though its totality is reasonably agreeable, and Pascal Chaumeil's comedy cum scenery-mainly Monte Carlo-gives the mercurial Romain Duris a chance to show his chops as an homme fatal.
  23. The movie isn't all bad, and it's sure to succeed with its target audience.
    • Wall Street Journal
  24. For a while Green Zone generates genuine excitement, as well as plenty of provocation--a fatuous surrogate for Ahmed Chalabi, a pervasive scorn for American planning--but then goes off its own reservation into a won't-fly zone of awkward preachments and hapless absurdities.
  25. Steven Soderbergh's new film is a puzzle wrapped in a mystery inside a perversity. The puzzle is Mr. Soderbergh's approach to what might have been an intriguing experiment, rather than the off-putting one it turned out to be.
    • Wall Street Journal
  26. Like so many parties, this one goes on too long.
    • Wall Street Journal
    • 41 Metascore
    • 40 Critic Score
    This is slash and burn strictly by the numbers. There's never an ounce of doubt where the movie's going; the only suspense is how long it's going to take to get there and how high the body count is going to get.
    • Wall Street Journal
  27. The point of the film is vacuous materialism, but the way these larcenous children return the camera's impassive gaze suggests that no one is home behind their beautiful faces and dead eyes.

Top Trailers