Wall Street Journal's Scores

  • Movies
  • TV
For 2,329 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 Get Low
Lowest review score: 0 Premonition
Score distribution:
2,329 movie reviews
  1. The third film of the trilogy turns out to be gorgeously joyous and deeply felt.
  2. His film makes it clear that these monstrous humans are very much a part of our species. In a way, I wish I’d never seen The Look of Silence, because now I won’t be able to forget it. But that’s the point, and the film’s purpose—calling attention to the cost of staying silent, and willfully forgetful, in the face of implacable evil.
  3. If Timbuktu — a nominee for this year’s foreign-film Oscar — were politically astute and nothing more, it would still serve a valuable purpose. But the film throbs with humanity, and abounds in extraordinary images.
  4. A single seeing isn't enough to take in the eccentric marvels of The Triplets of Belleville, an animated feature by Sylvain Chomet that creates a visual language all its own.
    • Wall Street Journal
  5. Marvelously smart, funny and entertaining film.
    • Wall Street Journal
  6. An absolute stunner, a feature-length animated documentary, from Israel, in which the force of moving drawings amplifies eerily powerful accounts of war, shaky remembrance and rock-solid repression.
  7. If watching movie violence is cathartic, then this film amounts to heavy therapy. It's much more than that, however. This is the best film the Coen brothers have done since their glory days of "Fargo" and "The Big Lebowski," maybe the best they've done, period.
  8. The Israeli journalist Dror Moreh has hit a documentarian's trifecta with The Gatekeepers. It's an exemplary piece of enterprise journalism, a vivid history of the Israeli-Palestinian conflict, and a polemic that's all the more remarkable for the shared experience of the polemicists.
  9. As a work of nonfiction, it deserves its own nomenclature. "Docu-poem" is too inelegant; "masterpiece" works, although it's been used before.
  10. 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.
  11. 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
  12. 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
  13. Uncompromising in its style, story and characterizations.
  14. Spectacular for its humanity, austere beauty and heart-stopping urgency.
  15. 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
  16. A harrowing lesson in unintended -- and intended -- consequences.
    • Wall Street Journal
  17. 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.
  18. Mr. Petzold, directing from a screenplay he and Harun Farocki based on a novel by Hubert Monteilhet, has made a film of light and shadows that sometimes looks like a color version of “The Third Man,” and sometimes feels like a somber ode to Hitchcock. But Phoenix has no precise peers; it’s an original creation, and a haunting one.
  19. An undersea treasure all the same, and a prodigy of visual energy.
    • Wall Street Journal
  20. Against all odds, an unquenchable artist has made yet another piece of powerful art.
  21. 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
  22. 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.
  23. 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
  24. 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
  25. 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
  26. 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.
  27. A dazzlingly smart and entertaining animated feature by Marjane Satrapi and Vincent Paronnaud, looks like a black-and-white graphic novel come to life.
  28. 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.
  29. 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
  30. 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

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