Wall Street Journal's Scores

  • Movies
  • TV
For 2,552 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 Argo
Lowest review score: 0 Ferris Bueller's Day Off
Score distribution:
2552 movie reviews
  1. This Transformers is a pile of glittering junk.
  2. As the hilariously foul-mouthed, sweet-souled Dr. S, he (Wayans) slaps Marci X to life every time he's on screen.
    • Wall Street Journal
  3. Like the high desert that provides its main setting, William Monahan’s Mojave is dry, often windy and full of hot air.
  4. Horrible Bosses has preposterousness to burn, but no finesse and no interest in having any.
  5. The film almost suffocates on overripe dialogue (“We are messing with the primal forces of nature here”) and finally loses its way in the logical contradictions — or the nonlogical implications — of time travel.
  6. Bring Zoloft and a tank of oxygen to Closer, an airless, ultimately joyless drama of sexual politics.
    • Wall Street Journal
  7. It's really dumb, even though it starts promisingly and continues, in a self-infatuated way, to consider itself quite bright.
  8. 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
  9. Won't kill you, but it could bore you half to death.
    • Wall Street Journal
  10. 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.
  11. 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
  12. 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.
  13. 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
  14. Heart-breakingly awful -- slow, lugubrious, and misconceived to the point of baffling amateurism.
    • Wall Street Journal
  15. 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
  16. Penelope was in a trough of trouble before the oink on the script was dry.
  17. 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.
  18. Less than the sum of its parts, which were problematic to begin with.
  19. 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
  20. Five months after Sept. 11, the movie inevitably echoes those events, but in a loud and extremely cheesy way.
    • Wall Street Journal
  21. 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.
  22. 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.
  23. 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.
  24. 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
  25. 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.
  26. Another dim adaptation of a bright comic novel.
    • Wall Street Journal
  27. Adam Green's Frozen explores a tiny idea exhaustively, and I mean exhaustively.
  28. This clumsy comedy, written and directed by Nancy Meyers, turns an implausible but intriguing premise into a tale of generational collision that reflects dimly on old and young alike.
  29. 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.

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