Wall Street Journal's Scores

  • Movies
  • TV
For 2,594 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: 60
Highest review score: 100 Touching the Void
Lowest review score: 0 Wanderlust
Score distribution:
2594 movie reviews
  1. At Berkeley is more than the sum of its minutes. Narration-free and artfully discursive, it's a one-of-a-kind mosaic portrait of a great institution struggling, under dire stress, to retain its essential character at a time of declining support for public education.
  2. What’s so memorable about Ms. Lipitz’s documentary, though, is its privileged view of not-privileged students trying to dance well, learn well and think well on the way to living well in the world beyond their nurturing school.
  3. I laughed myself silly through most of A Mighty Wind, and was pleasantly surprised when it took a turn toward genuine feeling near the end.
    • Wall Street Journal
  4. What’s remarkable about Arrival is its contemplative core—and, of course, Ms. Adams’s star performance, which is no less impassioned for being self-effacing.
  5. It's a comedy of crisp, mordant wit and quietly radiating warmth, as well as a coming-of-age story with a lovely twist -- you can't always spot the best candidates for maturity.
  6. Here's one vote for the most affecting, anguishing, revealing and prophetic scene of the movie year-and yes, it's all of those things at once in a powerful film that alternates between moments of earlier happiness and later pain.
  7. The payoff is sneakily profound — sneakily because this small-scale drama grabs you when you least expect it, often with the help of the dog.
  8. Daring in its own right, this broodingly sumptuous saga explores the primacy of feelings, the nature of memories and the essence of being human, framed as the difference between being manufactured or born.
  9. Just as Aubrey's authority springs from skill and knowledge, so does the film's power. They don't make movies like this any more because few people know how to make them.
    • Wall Street Journal
  10. This wonderfully strange and exquisite little feature was created, especially for young children, to celebrate the book through another kind of illumination that's been falling into disuse--hand-drawn animation.
  11. The film feels freshly minted because the man who made it has such a lively mind and fearless style. At a time when all too many movies are selling bleakness and dysfunction, it also feels like a revenant from Hollywood’s golden age, when an entertainment’s highest function was to entertain.
  12. Tom Hardy, the actor who plays him, is by turns spellbinding, seductive, heartbreaking, explosive and flat-out thrilling. At a time when the studios are spending vast sums of money on a bigger-is-better aesthetic, here's a chamber piece with the impact of high drama.
  13. Bridge of Spies isn’t conventionally exciting, and isn’t intended to be. Instead, it’s satisfying — thoroughly and pleasurably so.
  14. Anyone who doesn’t have a grand time watching Shaun the Sheep Movie is suffering from a fractured funny bone that needs to be reset.
  15. It's a portrait, by turns chilling, thrilling, mysterious and terrifying, of a woman who refuses to be terrorized.
  16. A droll and affecting debut feature by Tom McCarthy.
    • Wall Street Journal
  17. Foxcatcher is a radical departure from Mr. Miller’s previous feature, the smart and entertaining “Moneyball.” It isn’t meant as conventional entertainment, but it’s fascinating to watch from start to finish.
  18. The film's special mixture of sadness, comedy and hope sneaks up on you and stays in your memory.
  19. Jane Campion has performed her own feat of romantic imagination.
  20. So much movie can be made with so little plot, given sufficient humanity and dramatic tension. That's the case with Andrew Haigh's eloquent chamber piece.
  21. Raw
    This French-language horror film is shockingly well made for a debut feature: Julia Ducournau, who wrote and directed it, really knows her stuff and is clearly bound for mainstream success, if that’s where her appetites take her.
  22. It's been a good while since I've seen a movie whose most powerful sequence was both unforeseen and entirely unpredictable as it played out.
  23. This musical about a plant that craves blood has a smart and snappy score -- and Steve Martin in a hilarious bit as a dentist who gives himself laughing gas as he treats his unanesthetized patients. [23 Dec 1986, p.1]
    • Wall Street Journal
  24. No
    Like "Argo" or "Zero Dark Thirty," the film dramatizes a fertile subject — in this instance, the language of advertising in modern politics.
  25. Likely to create considerable nervous tension among viewers who think they've seen this all before. They haven't.
  26. The film doesn't play it safe, so neither will I. Instead, I'll say that it finds Mr. Tarantino perched improbably but securely on the top of a production that's wildly extravagant, ferociously violent, ludicrously lurid and outrageously entertaining, yet also, remarkably, very much about the pernicious lunacy of racism and, yes, slavery's singular horrors.
  27. Ana Lily Amirpour’s A Girl Walks Home Alone At Night. (What a terrific title!) This precocious, faux-primitive first feature, in Persian with English subtitles, and a sensationally eclectic score, was shot in wide-screen black-and-white, and frequently mimics the dreamlike rhythms of silent films.
  28. The links and resonances remain largely abstract -- to understand them isn't necessarily to be moved by them -- while the individual dramas of those three lives are often stirring, and the three starring performances are unforgettable.
    • Wall Street Journal
  29. Only in America, though, could filmmakers illuminate such a dire subject, and the financial debacle that ensued, with the sort of scathing wit, joyous irreverence and brilliant boisterousness that make The Big Short an improbable triumph.
  30. So too much of a good thing really isn’t too much, and some of the exceptionally good things are the songs written by Lin-Manuel Miranda. But how will they do the water on Broadway?

Top Trailers