Wall Street Journal's Scores

  • Movies
  • TV
For 2,671 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: 61
Highest review score: 100 Kill Bill: Vol. 2
Lowest review score: 0 FeardotCom
Score distribution:
2671 movie reviews
  1. One of the strongest arguments yet for making sequels illegal.
    • Wall Street Journal
  2. Basically a theme-park version of a tawdry tradition.
  3. A godawful gothic horror flick.
  4. A remarkably ill-advised remake.
    • Wall Street Journal
  5. Katherine Heigl carries 27 Dresses when all else fails, which it does with great regularity.
  6. The movie's leisurely, elegant setup makes its action payoff seem, by contrast, particularly mechanical, cynical and grotesque.
    • Wall Street Journal
  7. Mr. Sayle's portrait is painfully unfunny, and the movie as a whole is a plodding polemic.
    • Wall Street Journal
  8. Grindingly tedious.
    • Wall Street Journal
  9. Joyless and airless suspense thriller.
  10. Whatever possessed the people who made this film to believe its ponderous style would appeal to contemporary audiences? One answer may lie in a variant of the mostly true proposition that no one sets out to make a bad film. No one chooses ponderousness as a goal; it comes unbidden, with deadly earnestness.
    • 46 Metascore
    • 30 Critic Score
    So tightly constructed of clichés, stereotypes and chick-lit tropes that it's inert; no fresh air can blow in.
  11. A deadly earnest and deadly dull psychological thriller.
  12. The production's penchant for contrivance is insufferable - not a single spontaneous moment from start to finish - and the boy is so precocious you want to strangle him. It's surely not the fault of Thomas Horn, the remarkable young man who plays him.
  13. Hate is too strong an emotion to spend on such a clumsy, bloodless broadside against human foibles in general and American follies in particular.
    • Wall Street Journal
  14. No need to belabor the awfulness of this film, a romantic comedy devoid of romance - instead of chemistry there's the flow of reverse magnetism - and lacking in comic timing, let alone comic content.
  15. Bleak, remarkably turgid, tediously violent, devoid of drama, deprived of magic, stripped of romance and, except for one of the oddest boy-meets-girl scenes in movie history, a befuddled and befuddling excuse for entertainment.
    • Wall Street Journal
  16. Even as a visual aid, though, The Da Vinci Code is a deep-dyed disappointment. Paris by night never looked murkier.
    • Wall Street Journal
  17. Horns is uncertain in tone — most of its attempts at humor fall flat — and amateurish at best.
  18. The source of this movie's energy is near-perpetual desperation. You can see it in Tom Cruise's fixed grin, and in the mad proliferation of unspecial effects.
  19. All that's missing is wit and humanity.
    • Wall Street Journal
  20. When director Richard Attenborough isn't mangling dance numbers, he's focusing on a love story expressed almost entirely by means of close-ups of moony faces and teary eyes. [12 Dec 1985]
    • Wall Street Journal
  21. I can't say anything nice about Flipped, a painfully clumsy adaptation of a tween novel by Wendelin Van Draanen.
  22. Michael Bay's absurdist comedy is all pain, no gain and an utter monstrosity. It may be the most unpleasant movie I've ever seen, and I'm not forgetting "Freaks," which Pain & Gain resembles, come to think of it.
  23. Talk about tin ears. Black or White comes off as the product of clouded eyes, sour stomachs and addled brains.
  24. Downey is undone by a woefully amateurish production that, sadly and ironically, looks like a cheap TV show.
    • Wall Street Journal
  25. The performances, under Mike Newell's direction, range from conventional (Ms. Roberts) to dreadful, and the script is as shallow as an old Cosmo cover story.
    • Wall Street Journal
  26. The movie on the whole is joyless. Whatever Works doesn’t.
  27. Extraordinary Measures requires extraordinary tolerance for bathos, bombast and plain old unpleasantness.
  28. The last thing we need is entertainment that evokes the horror and then trivializes it with cheesy heroics. Never has a movie taken on a subject of greater immediacy, or handled it more ineptly.
    • Wall Street Journal
  29. The battles to save the world are generic/titanic; the villain is a bloodless bore with a boom-box roar; and the screen, like the ragged story, is chockablock with such underdeveloped overachievers as Batman, Wonder Woman, Aquaman, Cyborg and the Flash.

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