Wall Street Journal's Scores

  • Movies
  • TV
For 2,244 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 2.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 The Hurt Locker
Lowest review score: 0 Henry Fool
Score distribution:
2,244 movie reviews
  1. Still, the action is ponderous too. Mr. Morel is no Kubrick, or Tarantino, just as Mr. Travolta's caricature of John Travolta is no Travolta.
    • 58 Metascore
    • 30 Critic Score
    Mr. Snipes and Mr. Rhames get credit at least for doing their own stunts. By the middle of the film, viewers will take a certain satisfaction in each punch that lands on either of them.
    • Wall Street Journal
  2. Won't kill you, but it could bore you half to death.
    • Wall Street Journal
  3. For precursors of Guy's perversity, one would have to go back to W.C. Fields, who made antic art out of his characters' abhorrence of children.
  4. There's nothing wrong with the structure of Heartbreakers, but David Mirkin's direction is woefully clumsy -- and the movie's tone is nasty.
    • Wall Street Journal
  5. You may wonder if this screen version of the book of the same name is as unfunny and strangely mushy as it seems, but trust your instincts.
  6. A saga of static set pieces and strenuously clever notions, this is a fiasco of a film if ever there was one.
    • Wall Street Journal
  7. Heart-breakingly awful -- slow, lugubrious, and misconceived to the point of baffling amateurism.
    • Wall Street Journal
  8. Stepping is everything in Stomp the Yard, and, dare I say it, a stepping stone to DJ's redemption. The movie itself is redeemed -- slightly -- by its almost touching devotion to the hoary Hollywood traditions of college movies with battling frats, as well as its earnest endorsement of education.
    • Wall Street Journal
  9. Penelope was in a trough of trouble before the oink on the script was dry.
  10. The IMAX print I saw was so murky as to make you give thanks for the few scenes shot in simple sunlight, the 3-D wasn't worth the bother, and never before have I wanted to chloroform an entire orchestra.
  11. Less than the sum of its parts, which were problematic to begin with.
  12. No one comes out of Mooseport unscathed -- not Rip Torn, as the president's campaign manager, not Christine Baranski as his avaricious ex-wife. It's a democracy of mediocrity, or worse.
    • Wall Street Journal
  13. Five months after Sept. 11, the movie inevitably echoes those events, but in a loud and extremely cheesy way.
    • Wall Street Journal
  14. This children's entertainment-grownups beware!-is preoccupied by squishy stuff that includes mud and poop, as well as by syrup that oozes from cabinet drawers.
  15. When bad movies happen to good people, the first place to look for an explanation is the basic idea. That certainly applies to My Week With Marilyn, a dubious idea done in by Adrian Hodges's shallow script and Simon Curtis's clumsy direction.
  16. Johnny Depp's Tonto wears a dead crow on his head in The Lone Ranger. The star himself carries a dead movie on his shoulders.
  17. Mr. Jarecki undercuts his own case -- not just undercuts but carpet-bombs it -- by using the same propaganda techniques he professes to abhor.
    • Wall Street Journal
  18. Edge of Darkness was one of the most enthralling, intricate and genuinely thrilling productions in the history of the small screen. The big-screen version--directed by Martin Campbell, who did the original--offers an example of why the studios' numbers often add up, and why, at the same time, so many of today's Hollywood movies leave us cool if not downright cold.
  19. Another dim adaptation of a bright comic novel.
    • Wall Street Journal
  20. Adam Green's Frozen explores a tiny idea exhaustively, and I mean exhaustively.
  21. The drama is repetitive rather than resonant, an over-calculated, under-ventilated studio production -- even paranoid thrillers need to breathe -- whose plot machinery grinds grim and coarse.
  22. In addition to all else, and it's a lot, The Losers wastes the riches of Hollywood technology in hot pursuit of nothing.
  23. The story is rooted in a political past that never comes to life, and its structure is so cockeyed that we don't even get to see Nick's reaction to a climactic surprise that takes place off-screen. The film was shot by an excellent cinematographer, Adriano Goldman, though you'd never know it from the lighting, which is as flat as the writing.
  24. Katherine Heigl carries 27 Dresses when all else fails, which it does with great regularity.
  25. A train wreck of mind-numbing proportions.
    • Wall Street Journal
  26. As an experiment in Academy Award psychology, Albert Nobbs is fascinating. As drama? It is, forgive us, a drag.
  27. The movie's leisurely, elegant setup makes its action payoff seem, by contrast, particularly mechanical, cynical and grotesque.
    • Wall Street Journal
  28. The remake has no grace notes, or grace, no nuance, no humanity, no character quirks, no surprises in the dialogue and no humor.
  29. Go in with lowered expectations, and expect to have them dashed.
    • Wall Street Journal

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