Wall Street Journal's Scores

  • Movies
  • TV
For 2,091 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 2.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Mud
Lowest review score: 0 Land of the Lost
Score distribution:
2,091 movie reviews
  1. 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.
  2. 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.
  3. It's a portrait, by turns chilling, thrilling, mysterious and terrifying, of a woman who refuses to be terrorized.
  4. Jane Campion has performed her own feat of romantic imagination.
  5. 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.
  6. 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]
  7. No
    Like "Argo" or "Zero Dark Thirty," the film dramatizes a fertile subject — in this instance, the language of advertising in modern politics.
  8. 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.
  9. We need 007, even after half a century of his ups and downs in various incarnations, to remind us how deeply pleasurable an action thriller can be. The latest addition to the Bond canon goes beyond thrilling into chilling and enthralling, plus a kind of stirring that has nothing to do with martinis.
  10. 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.
  11. A feature-length documentary, by Dayna Goldfine and Dan Geller, of absolutely breathtaking sweep and joyous energy.
  12. The studio, like plucky Harry, passes with flying colors. The new one, directed by Mike Newell from another astute script by Mr. Kloves, is even richer and fuller, as well as dramatically darker. It's downright scary how good this movie is.
  13. In Woody Allen's beguiling and then bedazzling new comedy, nostalgia isn't at all what it used to be - it's smarter, sweeter, fizzier and ever so much funnier.
  14. Please see this movie, and take any kids old enough to read subtitles. It's one of a kind.
  15. Everything comes together brilliantly in Silver Linings Playbook - for the film's crazed but uncrazy lovers; for the filmmaker, David O. Russell, and best of all for lucky us.
  16. This is a time when urgent issues are often explored in polemic documentaries, as well as a fateful moment when the future of public education is being debated with unprecedented intensity. Waiting for 'Superman' makes an invaluable addition to the debate.
  17. This exquisite film by the Swedish master Jan Troell is about seeing clearly, and fearlessly. It's also about subdued passion, the birth of an artist and a woman's struggle to live her own life.
  18. Its true subject is melancholia as a spiritual state, a destroyer of happiness that emerges from its hiding place behind the sun, just like the menacing planet, then holds the heroine, Justine, in its unyielding grip and gives Ms. Dunst the unlikely occasion for a dazzling performance.
  19. Bergman's Saraband is sublime.
  20. A movie of minimalist moments (Molly's tiniest gestures speak volumes) and lovely, almost holy tableaux.
  21. A moveable feast of delights.
  22. Every sport, and every sports film, must have its superman. The role is filled here by Laird Hamilton, who, we are told -- and, more astonishingly, shown -- took "the single most significant ride in surfing history." Seeing is believing.
  23. Room 237, which goes into national distribution this weekend, may be the surpassingly eccentric — and enormously entertaining — film that Kubrick deserves.
  24. Operates in an orbit somewhere between Oliver Sacks and Lewis Carroll. I can't remember when a movie has seemed so clever, strangely affecting and slyly funny at the very same time.
  25. While the film itself isn't perfect, who cares about perfection in the face of abundant life, authentic screwiness and lovely surprises by the busload?
  26. Ms. Berg's film, which she wrote with Billy McMillin, tells the story with unprecedented clarity. She has a dramatist's eye for what was irretrievably lost-the innocent lives of the children, plus 18 years of three other innocent lives.
  27. A huge delight.
  28. What Ron Howard gets, to a degree that's astonishing in a two-hour film, is the density and complexity, as well as the generous entertainment quotient, of Peter Morgan's screenplay.
  29. What's most rewarding, though, is that Mr. Senna speaks extensively and eloquently for himself, and reveals himself to be an eminently human hero. He's thoughtful, even philosophical, about decisions that deprive him of seemingly well-earned victories.
  30. Seduces us with its leisurely pace and felicitous details into believing that something miraculous is afoot in a mundane rural community.

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