Wall Street Journal's Scores

  • Movies
  • TV
For 2,229 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 2.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Submarine
Lowest review score: 0 Land of the Lost
Score distribution:
2,229 movie reviews
  1. It's powerful entertainment. [22 Sept 1992, p.A16(E)]
    • Wall Street Journal
  2. Spectacular for its humanity, austere beauty and heart-stopping urgency.
  3. Here's an iffy proposition. If A Hijacking was in English, or if U.S. audiences weren't finicky about reading subtitles, or if life was fair, this brilliant thriller, by the Danish filmmaker Tobias Lindholm, would be playing on multiplex screens throughout the country.
    • Wall Street Journal
  4. Ida
    Pawel Pawlikowski's Ida, a compact masterpiece set in Poland in the early 1960s, gets to the heart of its matter with startling swiftness.
  5. A dulcetly crazy, certifiably hilarious and eerily mysterious little comedy.
  6. The third film of the trilogy turns out to be gorgeously joyous and deeply felt.
  7. Stunning and, in the aggregate, almost overwhelming. This is not a feel-good travelogue, and Mr. Salgado has never pretended to be a cockeyed optimist.
  8. Movie audiences have never been presented with anything quite like the intertwined beauty and savagery of 12 Years a Slave.
  9. Slumdog Millionaire is the film world's first globalized masterpiece.
  10. It's a meditation on mortality, with remarkable resemblances to "Gravity," not to mention echoes of "The Old Man and the Sea." It's admirably crafted, with a wealth of detail that illustrates the sailor's resourcefulness.
  11. Through it all -- the free-form conversations, the brilliant set pieces, the preposterous gross-outs, the flawless performances -- Kristen Wiig's forlorn maid of honor, Annie, seeks her own destiny with a wrenchingly cockeyed passion.
  12. Extraordinary...The movie has the intensity of an epic, only its subject matter is everyday life. [19 Oct 1993, p.A18(E)]
    • Wall Street Journal
  13. Sideways makes you glad about America, about movies, about life.
    • Wall Street Journal
  14. An absolutely phenomenal film by the Korean director Bong Joon-ho.
  15. Exquisite images, poignant humor, echoes of cinema history and a sense of having watched genuine magic.
  16. A splendid war movie. The combat sequences are harrowing -- all the more so for the director's spare, sharp-eyed style -- and the performances are phenomenally fine.
    • Wall Street Journal
  17. Rather than dwell on the darkness and squalor, von Donnersmarck has fashioned a genuinely thrilling tale, leavened with sly humor, that works ingenious variations on the theme of cat and mouse, speaks to current concerns about personal privacy and illuminates the timeless conflict between totalitarianism and art.
    • Wall Street Journal
  18. The film forges ahead, in vivid 3-D, with such energy, expertise and thunderous conviction that you readily accept its basic premise — the pell-mell emergence of great intelligence, plus moral awareness, in primitive bodies — and find yourself exactly where the filmmakers want you to be, swinging giddily between sympathy for the apes and the humans in what threatens to become all-out war.
  19. Against all odds in an era of machine-made spectaculars, Mr. Jackson and his collaborators have created a film epic that lives and breathes.
    • Wall Street Journal
  20. On rare occasions a movie seems to channel the flow of real life. Boyhood is one of those occasions. In its ambition, which is matched by its execution, Richard Linklater's endearing epic is not only rare but unique.
  21. I thought "Topsy-Turvy" was perfection, a spirited evocation of the partnership of Gilbert and Sullivan, plus a blithely definitive depiction of the artistic process. Happy-Go-Lucky is perfection too, assuming you go along with its leisurely pace, which I did quite happily.
  22. Gleeful and smart, funny and serious, this sequel surpasses the endearing original with gorgeous animation — a dragon Eden, a dragon scourge, an infinitude of dragons — and one stirring human encounter after another.
  23. The Israeli journalist Dror Moreh has hit a documentarian's trifecta with The Gatekeepers. It's an exemplary piece of enterprise journalism, a vivid history of the Israeli-Palestinian conflict, and a polemic that's all the more remarkable for the shared experience of the polemicists.
  24. It isn't saying too much, though, to call Mia Hansen-Løve's French-language drama beautiful, profound and, given the gathering tensions of its story, phenomenally full of life.
  25. Foreign films can be as enchanting as ever, and perspective-expanding too. The latest proof is Up and Down, a wonderfully funny, giddily intricate Czech comedy.
    • Wall Street Journal
  26. The screenplay, by William Monahan, is simply sensational. Scenes play brilliantly. Feelings flow like molten lava. The dialogue overflows with edgy wit and acidulous arias of imprecation.
    • Wall Street Journal
  27. The kind of movie they don't make any more -- a seriously beautiful, deliberately paced drama that meanders for a while at the pace of a summer romance, then explodes with phenomenal force.
    • Wall Street Journal
  28. High-energy comedy comes naturally to the filmmaker. He exults in free association, emotional riffs, in the craziness that underlies ostensibly rational behavior. The crosscurrents have crosscurrents in his films, but the current that carries everything along here is announced by the first strains of music from the screen: Duke Ellington's "Jeep's Blues," with one of the most exuberant passages in all of jazz. David O. Russell does buoyancy better than anyone.
  29. The Class is clearly a microcosm of contemporary France, beset by social and economic tensions. More than that, though, it's a saga of education's struggles in many parts of the modern world. If only the film were pure fiction.
  30. A first-rate action thriller, a vivid evocation of urban warfare in Iraq, a penetrating study of heroism and a showcase for austere technique, terse writing and a trio of brilliant performances. Most of all, though, it’s an instant classic that demonstrates, in a brutally hot and dusty laboratory setting, how the drug of war hooks its victims and why they can’t kick the habit.

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