Wall Street Journal's Scores

  • Movies
  • TV
For 2,512 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 2.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Citizenfour
Lowest review score: 0 15 Minutes
Score distribution:
2512 movie reviews
  1. A remarkably ill-advised remake.
    • Wall Street Journal
  2. The only reason to see it is Riz Ahmed's performance as Omar, the supposed brains of the operation. Mr. Ahmed reminded me a bit of Robert Carlyle. He's dynamic, quick-tongued and intense. And much too classy for this tatty room.
  3. The brightest touch in the whole tale is a transvestite hooker’s little papillon, decked out in a DayGlo pink vest, but even the pooch seems glum, pricked-up ears notwithstanding.
  4. Depressed and depressing drama.
    • Wall Street Journal
  5. Men, Women & Children touches many nerves, but then pinches and twists them with its ham-handed approach to social commentary. I worry about Mr. Reitman, a filmmaker of consequence who is still too young to be so cosmic. Time to lighten up and come back down to Earth.
  6. The denizens of Judd Apatow’s Funny People have been pulled every which way to fit a misshapen concept, yet they remain painfully unfunny, and consistently off-putting.
  7. The basic problem is the script, which is credited to three writers plus the director - seldom a good sign. Never mind that it's a retread of "Planes, Trains & Automobiles" minus the trains, and minus John Candy.
  8. A shamelessly fictionalized biopic.
  9. Not a pretty sight, any of it.
    • Wall Street Journal
  10. If you go to see this sloppy sitcom, in which Mr. Martin plays a divorced, repressed lawyer named Peter Sanderson, do expect to be surprised, seduced and entertained by Queen Latifah.
    • Wall Street Journal
  11. What do the Coen brothers want of us? More specifically, what do they want us to think of the repellent people in this pitilessly bleak movie?
  12. Mr. Statham, the specialist in English tough guys who was so affecting in "The Bank Job," has more to offer than The Mechanic has the grace to receive.
  13. Ms. Wynter's performance is only one of many failings in a heavily accented costume drama that Bruce Beresford has directed turgidly from Marilyn Levy's amateurish script.
    • Wall Street Journal
  14. The video-game sequences are impressive, but you know that a 'toon is in big trouble when its most powerful theme is planned obsolescence.
    • Wall Street Journal
  15. You're tempted to keep watching, even though the running time is a bloated 154 minutes, to see if anyone, or the movie itself, turns remotely likable. The answer to that, alas, is no.
  16. The movie on the whole is joyless. Whatever Works doesn’t.
  17. In a movie that rings false at every turn, Ms. Redgrave's Elizabeth is truly and infallibly regal.
  18. I feel for the marketing person charged with devising a tagline for Darren Aronofsky's The Fountain, a fantasy whose turgid pretensions defy the very notion of marketing.
    • Wall Street Journal
  19. Nothing stands up to scrutiny -- least of all the lethargic acting and the clumsy script. I was hot to trot for the exit halfway through, but a dogged sense of duty kept me stuck in an endless present.
    • Wall Street Journal
  20. Basic Instinct 2 is pretty awful. Rarely has a meaningless thriller had so many meaningful glances, or such arch acting by good actors who know better.
    • Wall Street Journal
  21. Operates in a dead zone roughly equidistant between parody and idiocy. You do get the connection between tongue and cheek, but much of the humor still goes thud.
  22. Joyless and largely witless sci-fi fantasy.
    • Wall Street Journal
  23. A guaranteed downer that's devoid of any upside, and free of dangerously entertaining side effects.
    • Wall Street Journal
  24. A slow and lugubrious film about the impact of adoption on the lives of three women.
  25. Country Strong comes to spontaneous life from time to time, despite maudlin devices and manipulative set pieces.
  26. The script is dead in the water, and most of the misanthropic repartee rings resoundingly false.
    • Wall Street Journal
  27. Mr. Goldsman, a first-time director though a veteran screenwriter, has been done in by the source material. Either he climbed aboard a horse that was too much for him, or the universe gave him a bum steer.
  28. The director was Baltasar Kormákur, a gifted filmmaker from Iceland who shouldn’t be blamed for a case of industrial filmmaking gone wrong — the culprits in elaborate clunkers like this are usually the producers and the studios.
  29. By most standards of conventional film narrative, this movie is a mess. [25 June, 1987, p.22(E)]
    • Wall Street Journal
  30. It's long on Viagra jokes and whorehouse scenes, and comes up short on plausibility.

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