Wall Street Journal's Scores

  • Movies
  • TV
For 2,575 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 2.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Carrie
Lowest review score: 0 Ender's Game
Score distribution:
2575 movie reviews
  1. Country Strong comes to spontaneous life from time to time, despite maudlin devices and manipulative set pieces.
  2. Looks like the deformed spawn of a development process gone awry.
    • Wall Street Journal
  3. Dud notions abound. So do belabored situations, misguided performances and ritual salutes to other films. Even the cinematography is ill-advised, since it’s literally off-color; warm tones meant to evoke romantic feelings come off as a jaundiced homage to Woody Allen, from whom many of this film’s tropes have been not-so-piquantly purloined.
  4. It's not a good sign when a movie is called The Break-Up and you can't wait for the couple to split so they'll get some relief from one another, and give the audience some relief from them.
    • Wall Street Journal
    • 45 Metascore
    • 0 Critic Score
    Nobody fares well in this movie about sibling rivalry, doomed love and fringed suede. [05 Jan 1995]
    • Wall Street Journal
  5. Alan Arkin does the best trick, bringing a dollop of humanity to the role of Rance Holloway, the magician who was young Burt's inspiration. Apart from Rance, the whole production is slovenly nonsense, photographed on the cheap with blaring ghastliness. Yet it poses an intriguing mystery. Did the producers appeal to a denominator even lower than common by making their film as dumb as possible, or did it just turn out that way?
  6. Oz the Great and Powerful, like so many products of movie studios that have lost their way, is a Tin Man of epic proportions — bright and shiny, with no heart.
  7. Some of it sputters, settling for smiles instead of laughs, and much of it flounders while the slapdash script searches, at exhausting length, for ever more common denominators in toilet humor.
  8. Littered with low points -- lame comedy, dubious history, fumbling drama and a love story so inept as to make a pacifist long for war.
    • Wall Street Journal
  9. Choose to pass this one up.
    • Wall Street Journal
  10. If claustrophobia's your style, The Jacket is a perfect fit.
    • Wall Street Journal
  11. It's a bad idea done disastrously.
    • Wall Street Journal
  12. The Legend of Tarzan, for all its anticolonialist posturing and eminently attractive co-stars, has a dead soul.
  13. The psychodynamics may well be sound, but the problem is that Léa and François, whether in or out of bed, are much more appealing than Roland and Vanessa. The camera is in the wrong room.
  14. 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
  15. The movie as a whole is nonsensical. And long. And slow. And head-poundingly loud as it culminates in slavering horror.
    • Wall Street Journal
  16. In addition to being borderline unendurable, Funny Games is inexplicable, and I don't mean in any philosophical sense.
  17. What was fresh and surprising in Las Vegas turns rancid and predictable in Bangkok.
  18. Since Mary rarely gets to see any of the good stuff, neither do we; Dr. Jekyll hides most of his switcheroos behind closed doors. [23 Feb 1996]
    • Wall Street Journal
  19. Spasms of highfalutin philosophy, and howlingly pretentious dream sequences, serve only as the thinnest of veneers for incessant action in one of the most assaultive movies ever made.
  20. This is one of those overworked and generally airless comedies with a sitcom premise that can't sustain life.
  21. It's bad enough to make parable a four-letter word.
    • Wall Street Journal
  22. In addition to all else, and it's a lot, The Losers wastes the riches of Hollywood technology in hot pursuit of nothing.
  23. San Andreas changes all too quickly from satisfyingly foolish to dismayingly dumb to genuinely stupid.
  24. The nadir of the movie -- or cheesy zenith -- is Ollie's sodden soliloquy, delivered in the presence of his baby, in which he laments the loss of her mother and his wife. All that's missing are the strains of Ravel's "Pavane For a Dead Princess."
    • Wall Street Journal
  25. The Shaggy Dog is paint, or more appropriately here, pant by the numbers. It also manages a one-two punch -- it will upset small children and bore their parents. There's just no other way to say this: Disney, that movie of yours is a dog.
    • Wall Street Journal
  26. Lacks both taste and flavor.
    • Wall Street Journal
  27. Too labored to be romantic and too derivative to be funny.
    • Wall Street Journal
  28. The remake has no grace notes, or grace, no nuance, no humanity, no character quirks, no surprises in the dialogue and no humor.
  29. The production can best be described by several f-words. It is frenetic, frazzled and febrile. It is also feeble -- almost touchingly so, if you think of what bottomless insecurity must have prompted so much bombast.
    • Wall Street Journal

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