Wall Street Journal's Scores

  • Movies
  • TV
For 2,152 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 2.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Iron Man
Lowest review score: 0 Legally Blonde 2: Red, White & Blonde
Score distribution:
2,152 movie reviews
  1. This unpredictable and hilarious paranoid fantasy is a contemporary, urban "Wizard of Oz," peopled by punk artists and Yuppie vigilantes instead of wicked witches and Munchkins. [5 Sep 1985, p.1]
    • Wall Street Journal
  2. Persistently upends expectations without insult, as it pulls you into a netherworld filled with yearning, whimsy, and danger. [15 Dec 1992, p.A16(E)]
    • Wall Street Journal
  3. Uncompromising in its style, story and characterizations.
  4. Spectacular for its humanity, austere beauty and heart-stopping urgency.
  5. Whatever thematic clarity the added footage may confer is prosaic or didactic and intrusive; this stuff hit the cutting-room floor the first time around for good reason.
    • Wall Street Journal
  6. Her
    Mr. Jonze approaches perfection in the department of deadpan humor. In other hands, his premise could have been a clever gimmick and little more. But he draws us into Theodore's world, then develops it brilliantly, by playing everything scrupulously straight.
  7. An undersea treasure all the same, and a prodigy of visual energy.
    • Wall Street Journal
  8. Against all odds, an unquenchable artist has made yet another piece of powerful art.
  9. A work of huge, if unobtrusive, ambition -- a vision of modern life, appropriate for sophisticated adults as well as for kids, that is both satirical and, of all things, inspirational. It's a great film about the possibility of greatness.
    • Wall Street Journal
  10. Pirandello didn't have a patch on its complexities. Here's a popular entertainment with an eclectic soundtrack raising penetrating questions of identity in astonishing sequences that interweave live action with comic-book art.
  11. A wickedly astute and beautiful comedy of manners-cum-murder mystery, it's too dense, and occasionally confusing, to grasp fully the first time around. How lucky, then, that it's also too much fun to see just once.
    • Wall Street Journal
  12. Quite remarkably, though, its clear-eyed view of an unprecedented American tragedy leaves us with emotions that audiences of those earlier days would readily recognize -- love of country, bottomless grief, an appreciation of life's preciousness and fragility. A film that can do this and also teach is to be cherished. And seen. It's time.
    • Wall Street Journal
  13. In the entertainment culture that surrounds us, words like "harrowing," "anguishing," "unfathomable" or "horrifying" don't sell movie tickets. Capturing the Friedmans is all of these things and more.
    • Wall Street Journal
  14. 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.
  15. A dazzlingly smart and entertaining animated feature by Marjane Satrapi and Vincent Paronnaud, looks like a black-and-white graphic novel come to life.
  16. This feature-length documentary, currently entering national release, may be one of the most horrifying films you'll ever see, and one of the most edifying.
  17. Giddily funny in a singularly American idiom, and shot, by Lance Acord, with an eagle eye for cultural absurdities, Ms. Coppola's film is also a meditation on love and longing, shot through with a sensibility that's all the more surprising for being so unfashionably tender.
    • Wall Street Journal
  18. 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
  19. An astonishing combination of spectacle, suspense, martial-arts flash, sublime silliness, anti-gravity action and passionate intensity -- before and after everything else, it's a grand love story.
    • Wall Street Journal
  20. James Marsh's documentary raises the bar for the genre to skyscraper height.
  21. Not since the halcyon days of Archie Bunker and "All in the Family" has so sharp a wit punctured so many balloons.
    • Wall Street Journal
  22. 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.
  23. With its breathtaking visual style and careful attention to sound and movement, the movie provokes contemplation about the ways people communicate – through words, through music, through sex, and, most significantly, through touch. [14 Dec 1993, p.A14(E)]
    • Wall Street Journal
  24. One of those rare collaborations that artists dream of, and that film lovers crave.
    • Wall Street Journal
  25. The view taken by Clint Eastwood, directing from Iris Yamashita's exemplary screenplay, is elegiac, but -- and this is remarkable, given the nature of the production and the sweep of his ambition -- not at all didactic. He lets the film speak for itself, and so it does -- of humanity as well as primitive rage and horror on both sides of the battle.
    • Wall Street Journal
  26. Once proves to be as smart and funny as it is sweet; it swirls with ambiguity and conflict beneath a simple surface. In all of 88 minutes, Mr. Carney's singular fable follows its guy and girl through a week of musical and emotional growth that could suffice for a lifetime.
  27. Smart, surpassingly odd, extremely funny and mysteriously endearing at the same time.
    • Wall Street Journal
  28. Give yourself away to this movie and you'll be glad you did.
    • Wall Street Journal
  29. What Mr. Hoffman has done here borders on the miraculous.
    • Wall Street Journal
  30. Vincent is played masterfully by Aurelien Recoing, who gives him a sort of as-if anomie; this haunted hero is so detached that he may not realize he has no real life to be detached from.
    • Wall Street Journal

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