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 Lars and the Real Girl
Lowest review score: 0 Flipped
Score distribution:
2,244 movie reviews
  1. The 3-D is cheesy (2.2-D at best) the gags are gross (Gulliver urinates on an 18th-century palace to extinguish a fire) and the production abandons all hope of coherence when the hero fights a climactic battle with a giant robot out of "Transformers."
  2. Where to begin in describing the awfulness of Annie? Why not with Sandy, Annie’s dog, whose name now connects with the superstorm in this hapless contemporary update of a musical that begged to be left in its 1930s period. Have you ever seen a dog suffer from incompetent direction? This one does, but no more or less so than the human members of the cast, none of whom have any emotional connection with one another, let alone with a standoffish pooch.
  3. Goes down fighting, but it goes down just the same.
    • Wall Street Journal
  4. Eye-blowing and mind-numbing.
    • Wall Street Journal
  5. The movie's smugness is insufferable.
    • Wall Street Journal
  6. The best thing about a movie as silly as this is that it makes such modest demands on your attention. As the story unfolded with all the energy of California in a Stage 3 alert, I staved off brain death by trying to imagine an alternate version.
    • Wall Street Journal
  7. YEEEEE HAAAAW! They've gone and done it. The feature version of The Dukes Of Hazzard turns a sow's ear into a bigger sow's ear.
    • Wall Street Journal
  8. Mr. Scott's idea of making movies is to bludgeon or deafen his audience with every scene. In another line of work he'd be certifiable. [16 Aug 1996, p.A8]
    • Wall Street Journal
  9. Mr. Rock's opening scene is very funny. After that it's a steep downhill slide.
    • Wall Street Journal
  10. In the 1980 movie “Urban Cowboy,” John Travolta rode a mechanical bull. In The Longest Ride, Scott Eastwood rides real bulls, but everything else is mechanical.
  11. A sudsless soap opera with human misery as a backdrop for romantic banality.
    • Wall Street Journal
  12. This dramatically, thematically and artistically bankrupt comic fantasy cost something in the neighborhood of $100 million to make and isn't worth the celluloid it's printed on.
  13. An ugly exercise in big-budget carnage.
    • Wall Street Journal
  14. How could a movie with such likable actors be so deeply dislikable?
    • Wall Street Journal
  15. Another dim adaptation of a bright comic novel.
    • Wall Street Journal
  16. The writing is semicoherent at best, and the buddies of this meandering road trip are not only mismatched but dislikable.
  17. This joyless thriller runs the gamut from unconscionable through unwatchable to unendurable.
  18. Basically a soulless slasher flick, and one that demeans its gifted performers.
  19. Life is full of choices, and Halle Berry has made another bad one with Perfect Stranger, a perfectly off-putting thriller.
    • Wall Street Journal
  20. I have no idea how such shameless prattle found its way to the screen.
  21. The movie itself is grotesque, and may drive you nuts as it makes you laugh, mostly at the stupidity of the thing.
    • Wall Street Journal
  22. Every now and then, though, a movie comes up with a scene of surpassing stupidity, and then builds from that defining moment to a climax of perfect ineptitude. Life or Something Like It is such an achievement.
    • Wall Street Journal
  23. Has many more downs than ups, but this ragged action comedy, with Martin Lawrence and Steve Zahn as mismatched buddies, rings some outrageously funny changes on a deadly serious genre of amateur video that began with Rodney King.
    • Wall Street Journal
  24. The best news about this clangorous clunker is that it may well have vanquished the Mummy franchise.
  25. Unlike "Dead Man Walking" and many honorable dramas before it, "David Gale" has nothing coherent to say about capital punishment, or anything else. It's a dead film lurching.
    • Wall Street Journal
  26. 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.
  27. The kindest context in which to put Over Her Dead Body, which was written and directed by Jeff Lowell, is that of a training film, a public display of people trying to master their craft. The best way to see it is not at all.
  28. Knows that it's junk and tries feebly to rejoice in its junkiness.
    • Wall Street Journal
  29. Every so often a movie transcends stupidity and soars into the empyrean of true idiocy. John Q. is such a movie.
    • Wall Street Journal
  30. It's a terrible life, and a terrible movie.
    • Wall Street Journal

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