Wall Street Journal's Scores

  • Movies
  • TV
For 2,554 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 2.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Mad Max: Fury Road
Lowest review score: 0 Youth
Score distribution:
2554 movie reviews
  1. She's All That isn't mindless, just techniqueless...What's on the screen says they aren't yet up to speed on making feature films. Most of the actors mumble while the script lurches from one sketchy notion to the next. All the same, She's All That offers insights into life as it is lived, or at least filmed, in Southern California. [29 Jan 1999, p. W1]
    • Wall Street Journal
  2. The story leaves you snoozing with the fishes.
    • Wall Street Journal
  3. Mr. Hopkins gives the production what he was hired for. Whenever you wonder how much longer he can trade on Hannibal Lecter's special zest, the same answer comes up-a lot.
  4. Cold and clever to a fault, like the main character played by Liam Neeson, the movie is based on a fundamental miscalculation—that our desire to penetrate its mysteries will trump our need for people to care about.
  5. The Fifth Estate gives us an obsessive-compulsive messiah with a taste for martyrdom, and full-screen cascades of computer code in place of a coherent plot. Exhausting in a new way, the movie is a data dump devoid of drama.
  6. Depending on how you feel about Zac Efron, he is either a sensitive hunk or an inexpressive hunk, but definitely a hunk. Unable as I am to locate any feelings about him, I see Mr. Efron as a hunk with a problem delivering sustained dialogue in units of more than one or two sentences.
  7. Rather than a character rooted in some sort of reality-social, satirical, psychological, take your pick-Hesher is an abstract notion animated by false energy.
  8. There's simply too much stuff for a two-hour feature, and three writers, including Tony Gilroy, haven't figured out how to boil it down into a readily comprehensible narrative, or how to solve the problem of an ending that goes blah rather than bang.
  9. In the new film beauty is sought, and seldom found, in glitzy surfaces. Enchantment is chased, and never captured, in extravagant set pieces that owe less to fairy-tale tradition than to Cirque du Soleil grandiosity.
  10. What I do know is that I was gripped for a while by the strength of Mr. Gibson's filmmaking, only to be repelled and eventually excluded by his literalist insistence on excruciation. There is watching in horror, and there is watching in horror.
  11. What happens when a genuinely dear John gets a Dear John? For the answer, just meander--no need for running or walking--to your local multiplex. That's where Dear John, based on the Nicholas Sparks novel of the same name, will be meandering on its downward path from sweetly tender to terminally turgid.
  12. The possibilities of the dating game are endless and the potential for pain is great, yet the permutations of the movie's plot are predictable and repetitive.
  13. The picture's blandness - and hollowness - is startling when you consider the collaborators. [26 Nov 1986]
    • Wall Street Journal
  14. Mr. Freeman, a superb actor, creates the illusion of drama even when there is none.
    • Wall Street Journal
  15. 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.
  16. What's strong and true in Harrison's Flowers -- the hideous chaos of war, the stirring heroism of photographers and journalists -- falls victim to what's familiar, melodramatic and false.
    • Wall Street Journal
  17. Starts out stylishly, and promisingly, but then coarsens into a silly parody of film noir.
    • Wall Street Journal
    • 53 Metascore
    • 40 Critic Score
    Amateur is curiously monotone: a pulp fiction with all the pulp strained out. [13 Apr 1995]
    • Wall Street Journal
  18. I won’t make a case for No Escape being a good film; the first half is pretty good and the second half ranges from pretty bad to truly awful. Nor will I deny having enjoyed quite a bit of it as a zombie film, never mind that it’s supposed to be an international thriller with contemporary political significance.
  19. Every scene in this oppressive film has a theme or didactic purpose, but little life.
    • Wall Street Journal
  20. The revelations of The Invisible Circus don't justify the quest.
    • Wall Street Journal
  21. Despite Mr. Howard's best efforts in the role, though, the film rarely realizes its subject's potential.
    • Wall Street Journal
  22. The film suffers from a style that settles for pleasant or touching at the cost of spontaneous or impassioned. Too bad, because Ms. Garner is a genuinely pleasing presence.
    • Wall Street Journal
  23. A remarkably dislikable film, long on atmosphere -- I admired Dion Beebe's brooding cinematography -- and desperately short on vitality.
    • Wall Street Journal
  24. Kevin Spacey's pinched portrayal of Quoyle as a scared palooka rarely transcends its own artifice.
    • Wall Street Journal
  25. I’ve gone on about the creatures because there’s so little to say about the humans, who, in their turn, have little to say about the creatures, because the writers haven’t written enough lively dialogue.
  26. Ms. Robbie, on the other hand, aces her role from the start; she’s got an unerring gift for romantic comedy. Still, the film itself comes to feel like a con, thanks to a script that’s too clever by two-thirds, and butterfingered in the ways of portraying love.
    • 56 Metascore
    • 40 Critic Score
    After the first bit of fish bait is consumed, actually even before, this one-trick movie is a tough slog.
    • Wall Street Journal
  27. A film that tries constantly to amuse, but succeeds only fitfully.
    • Wall Street Journal
  28. The result is fitfully interesting, and Mr. Kinnaman, best known for "The Killing" on television, compels our empathy with a kind of macho melancholia. Still, the whole thing comes down to an action adventure that's graphics-rich, logic-poor, coherence-challenged and pleasure-impaired.

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