Wall Street Journal's Scores

  • Movies
  • TV
For 2,297 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 2.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 The Illusionist
Lowest review score: 0 Lethal Weapon 3
Score distribution:
2,297 movie reviews
  1. Now the movie can be seen for what it was all along, remarkable by any standards.
    • Wall Street Journal
  2. The Visitor tells of renewal through love. Its song is tinged with sadness, but stirring all the same.
  3. The gadgetry is absolutely dazzling, the action is mostly exhilarating, the comedy is scintillating and the whole enormous enterprise, spawned by Marvel comics, throbs with dramatic energy because the man inside the shiny red robotic rig is a daring choice for an action hero, and an inspired one.
  4. News management is the main issue. Control Room shows how coverage is tailored to fit the audience, both by al-Jazeera and its Western counterparts.
    • Wall Street Journal
  5. You don't have to be a fan of Mr. Jarmusch's special brand of indie spookiness to enjoy his new film. All that's required is patience with its languorous pace, plus a willingness to swing between amusement and delight, with periodic pauses at ennui.
  6. The deliriously talented Lake Bell wrote, produced, directed and stars in this peculiar bit of comedy magic, set amid the cutthroat world of Hollywood voiceover artists.
  7. 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.
  8. Computer travel may not be the real thing, but IMAX makes this an astonishing trip all the same.
  9. A stunning drama that's distinguished by a magnificent performance; the most powerful scenes are those that play, as recollection or confession, on Lena Endre's lovely face.
    • Wall Street Journal
  10. Mr. Lee's film is stronger as a visual experience - especially in 3-D - than an emotional one, but it has a final plot twist that may also change what you thought you knew about the ancient art of storytelling.
  11. This is more than a respectful remake; Let Me In is quietly stylish and thoroughly chilling in its own right.
  12. Should be a delight for everyone. Bird watchers will find affirmation and even explanation for their avocation. People who can't tell a towhee from a titmouse will still wonder at the beauty of it all.
  13. An absolutely phenomenal film by the Korean director Bong Joon-ho.
  14. This isn't entertainment in any conventional sense, but it's a mesmerizing film all the same.
    • Wall Street Journal
  15. Readily accessible, slyly subversive and perfectly delightful film.
    • Wall Street Journal
  16. Aronofsky blurs the line between reality and fantasy, turning the film into a gothic horror show that is fascinating and disappointing in equal measure. What's resplendently real, though, is the beauty of Ms. Portman's performance. She makes the whole lurid tale worthwhile.
  17. Who doesn't need what this movie has to give?
    • Wall Street Journal
  18. Few actors working today could make emotional sense of such a protean character, but Ryan Gosling does so with calm authority. He's a formidable presence in a film that grabs your gaze and won't let go except for moments when you can't help but look away.
  19. I can't say enough about the way Enough Said keeps its scintillating sense of humor as it grows deeper and more affecting.
  20. There's no better fun for movie lovers than a small, unheralded film that turns out to be terrific -- unless it's a small, unheralded sequel that trumps the original.
  21. Eureka demands active attention, but rewards it with emotional resonance, thematic complexity and a succession of images that take up permanent residence in our brains.
  22. By turns chilling, mysterious and inspiring; sometimes it's all of those at once.
    • Wall Street Journal
  23. I have minor misgivings about the use of a few Disney-esque sound effects, as well as some conventionally garish voicings in the score by Danny Elfman, Hollywood's current master of the macabre. But none of that diminishes the educational value of Deep Sea 3-D, which was directed by Howard Hall, or the sometimes ethereal, sometimes fearsome beauty of its cast of trillions.
    • Wall Street Journal
  24. Fatih Akin is a filmmaker to be reckoned with. His characters grow and change in a stunning film that pulses with life.
  25. A thriller with a quietly sensational performance by Tilda Swinton.
    • Wall Street Journal
  26. A wonderfully generous spirit. It's a film about cultural yearning and fearless love.
    • Wall Street Journal
  27. Cate Blanchett tops anything she's done in the past with her portrait of a fallen woman who's a hoot, a horror, a heartbreaker and a wonder. The mystery of the movie as a whole is that it depicts a bleak world of pervasive rapacity, deceit and self-delusion, yet keeps us rapt with delight.
  28. Hugely inventive -- and smashingly beautiful.
  29. This gorgeous film, always tender and sometimes dark, is a deeply resonant comic drama that's concerned with nothing less than life, death, love, sex, guilt and the urban logic of mortality.
  30. By most standards of conventional film narrative, this movie is a mess. [25 June, 1987, p.22(E)]
    • Wall Street Journal
  31. Why, then, should we be eager to see a story of such incomplete inspiration? Because it's thrilling, and stirring. And because it is truth.
    • Wall Street Journal
  32. Clouds Of Sils Maria. swirls with provocative ideas, but they’re talked about more than dramatized
  33. 5 Broken Cameras is short on facts and, like the demonstrations themselves, provocative by nature. Still, it casts a baleful light on anguishing, seemingly incessant scenes of tear gas hurled, bullets fired, villagers fleeing for their lives and, on one shocking occasion, a life lost as the camera rolls. This is how the conflict looks from the other side of the barrier.
  34. The only thing Mr. Tarantino spells out is the violence. I have seen much more blood spilled, yet I felt sickened by the coldness of this picture's visual cruelty. [29 Oct 1992, p.A11(E)]
    • Wall Street Journal
  35. This film is extraordinary on several counts: its knowledge of an arcane trade (Mr. Cohen ran his family's diamond business after his father died); its fondness for telling good life stories; and, above all, its superb starring performance.
    • Wall Street Journal
    • 78 Metascore
    • 80 Critic Score
    The thriller aspect of this work, happily, doesn't overshadow its real beauty -- its stark portrayal of the nightmare despair of aliens, hunted, on edge, prepared to risk all for a new start.
    • Wall Street Journal
  36. Magnificent.
  37. Difficult too, and certainly problematic, but it's sometimes quite wonderful. Do see it if you're curious about one-of-a-kind films, and if you care about the ever-evolving career of one of our most gifted filmmakers.
    • Wall Street Journal
  38. In a literal sense this delightful film, in Norwegian with English subtitles, is about retirement and the prospect of loss. But Mr. Hamer, a poet of the droll and askew, sends the aptly named Odd--it's also a common Norwegian name--on a cockeyed journey from regret through comic confusion to a lovely eagerness for new adventures.
  39. Much of this is fascinating, as far as it goes, but it wouldn't go as far as it does into drama were it not for Ms. Johansson's wonderfully strange performance.
  40. The Counterfeiters is inevitably serious, even austere, and full of chilling, ironic details.
  41. A thrilling -- and harrowing, and beautiful -- celebration of the unpredictability of life.
    • Wall Street Journal
  42. It's spectacular, to be sure, but also remarkable for its all-encompassing gloom. No movie has ever administered more punishment, to its hero or its audience, in the name of mainstream entertainment.
  43. It's a horror flick, and a creepily good one, that also functions as an allegory of the war that still haunts Spain seven decades later.
    • Wall Street Journal
  44. Sizzlingly smart and agreeably sententious, Mr. Garland’s film transcends some all-too-human imperfections with gorgeous images, astute writing and memorably strong performances.
  45. The Tribe is one of the most disturbing films I’ve ever seen. It may also be among the most memorable — not only for its pitch-black view of human nature, but for the devilishly instructive way in which it turns the tables on us. As we watch in anxious confusion, it’s as if we are profoundly deaf, trying to understand what’s going on and striving to break out of isolation.
  46. For those who’ve lived with the series for more than a decade, this fateful pause may heighten the suspense. For a Muggle like me, the storm does gather slowly.
  47. Even if snorkeling wasn't a major sport in 16th-century Sicily, where the action was originally set, the joyous spirit of the play has been preserved in this modest, homegrown production.
  48. 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
  49. This one is nowhere near as original -- it's a flawed remake of a fine first feature from Norway -- but "Insomnia" still stands on its own as a thriller with brains and scenic beauty.
    • Wall Street Journal
  50. A fine Argentinean film with English subtitles.
  51. The best part of Tracks — aside from the spectacular images, the succinct dialogue, the elegant filmmaking and the mysterious beauty of Mia Wasikowska's performance — is what's left unsaid.
  52. The film feels self-obsessed, an intriguing drama that slowly devolves into a bleak meditation on the absence of dramatics.
    • Wall Street Journal
  53. If truth be told, the film is less than the sum of its parts; the main problem is the fragmented narrative structure, a legacy of the literary source. Still, it's a joy to see men and women with dense life stories played by powerful actors with long and distinguished careers.
    • Wall Street Journal
  54. (Morton's) character here is emotionally mute -- though Morvern speaks, she can't or won't reveal what's in her heart -- and her performance is brilliant from start to finish.
    • Wall Street Journal
  55. This, too, is a mood piece, sometimes surreal and dominated by Chow's lovelorn sadness. But it's hard to find an emotional or narrative handle to hang on to, since the filmmaker keeps reaching for dramatic energy that keeps eluding him.
    • Wall Street Journal
  56. This is all very strange and a little tedious. Yet there is something arresting and oddly poignant in Mr. Van Sant's playful vision of the road to nowhere. [3 Oct 1991, p.A14(E)]
    • Wall Street Journal
  57. A handsome, absorbing debut feature by the fiction and television writer Henry Bromell.
    • Wall Street Journal
  58. The movie has its own genuine charm and one hilarious high: Billy Crystal & Carol Kane are simply wonderful. [24 Sept 1987, p.24(E)]
    • Wall Street Journal
  59. Watching the actors and gorgeous trappings is an adventure in cognitive dissonance. I didn't believe a single minute in almost three hours, but enjoyed being there all the same.
    • Wall Street Journal
  60. You may know Mr. Edgerton as the actor who played the cocksure SEAL squadron commander in “Zero Dark Thirty,” and Tom Buchanan in “The Great Gatsby.” Who knew, though, that his debut feature would be so stylishly crafted, intricately psychological and genuinely thrilling?
  61. The essence of this inventive though erratic animated feature is joyous music and eye-popping motion.
    • Wall Street Journal
  62. One of the film's best moments of deliciousness comes with the revelation that Yoshikazu, rather than his father, made the sushi that won the Michelin inspectors over; so much for working humbly in the old man's shadow.
  63. This comic chronicle of a Peruvian bear’s adventures in London turns out to be a total charmer, made with panache, élan and generous dollops of marmalade.
  64. Directed with such a confident, delicate touch. Nothing is insisted on, yet whole lives are discovered and revealed in vignettes that seem as spontaneous as a laugh or a gasp.
    • Wall Street Journal
  65. Several startling depictions of the artist at work make you forget, if only temporarily, the serious shortcomings of the script.
    • Wall Street Journal
  66. Beautiful images can be a distraction in a serious documentary, but that's hardly the case here. They draw us in so we can better understand the hurtling changes that endanger the future of Cambodia and, by extension, much of the developing world.
  67. The strangest thing about his latest picture, Hairspray, is how very sweet and cheerful it is. In his own weird way, Mr. Waters has captured the gleeful garishness of the early '60s, when high-school girls wore demure bows in their ratted hair and deadened their lips with palest pink lip gloss -- and believed that racial harmony was inevitable if teens of all flavors could dance together on TV. [25 Feb 1988, p.1]
    • Wall Street Journal
  68. Straightforward in form but surprisingly intricate.
    • Wall Street Journal
  69. Transcends its star's controversial career and, in the bargain, stands head, shoulders and heart above every other Hollywood movie that we've seen so far this year.
    • Wall Street Journal
  70. The Ghost Writer is so rich you may feel you paid too little for your ticket when the whole thing meets its very Polanski-ish climax. Please don't tell anyone.
    • 77 Metascore
    • 60 Critic Score
    Sympathetic, engaging documentary.
    • Wall Street Journal
  71. Looks like Weimar decadence and feels like down-home friendship.
    • Wall Street Journal
  72. One of the best of the genre. If it doesn't serve oysters, per se, this submarine wonder offers marvels in abundance.
  73. Mr. Fukanaga's purpose is to evoke the immigrants' experience, which he does with such eloquence and power as to inspire awe.
  74. It's a film of modest means and great ambition, a darkly comic drama concerned with nothing less than the place of faith, and an embattled Church, in modern life.
  75. Growth is the film's subtext, and finally its subject. Never has a line of dialogue been more freighted with symbolism, or more grounded in literal reality, than when Barbu says, ever so quietly, "Mother, please unlock me."
  76. Even when the masks are dropped, though, it’s all but impossible to tell the good guys from the bad. Both sides are corrupt, both sides do terrible harm. Although the film has its shortcomings and simplifications, it’s a bleakly persuasive view of a decades-long combat that respects no boundaries, and seems to hold no prospect of surcease.
  77. A must-view film for our media-besotted age.
  78. Proves to be a remarkably lean and incisive film about the fateful power of sexuality.
    • Wall Street Journal
  79. Value has been added as well -- the most thrilling car chase ever committed to film, a sequence that also shows, by cutting to the psychosexual chase, why fans embraced the tawdry genre in the first place.
    • Wall Street Journal
  80. What works best is what's readily accessible, the startling power of performers who understand the drama all too well.
  81. You never lose interest for a moment, and the images are often striking: Javier Julia did the stylish cinematography. Yet there’s little lift from the carryings-on, not much buoyancy in the misanthropy.
  82. The scope of the subject is such that when Mr. Jarecki's voiceover cuts into the narrative, imposing a personal angle on the national story, it reduces the sense of significance its creator aimed for. But that's a fairly backhanded endorsement of a very potent movie.
  83. Clark Terry the teacher sometimes talks like a trumpet, even though he's dealing with a pianist—"daddle-leedle-daddle-loodle" is how he wants Justin to play one phrase. Clark Terry the man personifies generosity, and it's lovely to behold.
  84. Felix (Duvall) simply wants to host his own goodbye, maybe have a band, and the reasons why are the reasons Get Low is essential viewing. That, and the acting.
  85. I admired the leisure and intensity of this morality tale.
    • Wall Street Journal
  86. With a calmness that bespeaks confidence, this small, spellbinding second feature by Hilary Brougher brings together two women, trapped in separate states of denial and distress, who manage to end each other's entrapment.
  87. A powerful drama, albeit a flawed one with a clumsy, didactic script.
    • Wall Street Journal
  88. This is a woman's work in the best sense -- empathetic, inferentially erotic and delicately intuitive, as well as fiercely intelligent.
    • Wall Street Journal
  89. Nair's movie, far from being paste, is a string of small, exquisite gems.
    • Wall Street Journal
  90. Mr. Almodóvar's love of movies informs every frame of this beautiful film.
  91. There's no shortage of felicitous lines or interesting performances, yet the movie, like the amusement park of its title, feels constructed from familiar parts.
  92. How long has it been since a movie left you literally speechless?
  93. The greatest fascination is watching these three people when they're planted firmly inside the frame, talking at cross-purposes while trying to perceive one another in the reflected light of their needs and risky assumptions.
  94. Boils with humor, surprise and dramatic energy.
    • Wall Street Journal
  95. Mr. Coogan, lavishly talented as a comic, and a comic actor, is fairly monotonous in the mostly serious role he wrote for himself. That leaves Ms. Dench to carry the picture, which she does, up to a point, with her usual delicacy and grace.
  96. Too bad it isn't more engaging — and dramatic — than it is, but this new film, in French with English subtitles, is still worth seeing for what it says of the turbulent state of France in the early 1970s, when Mr. Assayas was a high-school student in Paris, and of the zigzag pursuit—of painting, beautiful girls and independence from a demanding father—that finally culminated in his becoming the filmmaker he was meant to be.
  97. The pace is deliberate, verging on slow — Australian filmmakers aren't keen on short takes or quick cuts — but the content is constantly surprising.
  98. Magic suffuses this film -- performances that approach perfection, or achieve it, moments of exceptional grace as a troubled family plays out a contemporary version of a classic immigration saga, healing itself in the process.
    • Wall Street Journal

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