Wall Street Journal's Scores

  • Movies
  • TV
For 2,494 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 2.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Waltz with Bashir
Lowest review score: 0 Olympus Has Fallen
Score distribution:
2494 movie reviews
  1. The only reason to see this dreary parade of deception and venality is Mark Wahlberg's performance as a disgraced ex-cop caught up in the thick of menacing events he can't understand. It's striking how this tightly focused actor can find his own firmly grounded reality in the falsest of surroundings.
  2. It's a deafening, sometimes boring, occasionally startling and ultimately impressive war movie with a concern for what it is that makes us human.
  3. Any notions of demolishing black stereotypes -- and what else could have possessed Mr. Smith to do this? -- are dashed by the coarseness of it all, and by the narrative incoherence; a surprising plot twist turns a sloppy action-comedy into a totally different movie, and an even worse one.
  4. By turns repellent, powerful and ludicrous, Antichrist piles horror on horror with pitiless passion.
  5. There's nothing to be said in favor of sitting through garbage, and this movie is awash in the stuff, both figuratively and literally: One of its main locales is a vast garbage dump.
  6. There's no transcending a prosaic plot and several flat performances.
    • Wall Street Journal
  7. What's strong and true in Harrison's Flowers -- the hideous chaos of war, the stirring heroism of photographers and journalists -- falls victim to what's familiar, melodramatic and false.
    • Wall Street Journal
  8. In the end, the only question of consequence that the story poses is whether superior acting can prevail over inferior writing. The answer lies not in the stars.
  9. It's interesting to see how a potent premise -- those among us who behave like aliens probably are -- can sustain, more or less, an erratic, disjointed sequel.
    • Wall Street Journal
  10. A tatty but good-natured time-passer.
    • Wall Street Journal
  11. The production certainly looks sumptuous, and certifies Mr. Hartnett as a mainstream movie star. But the script is frequently impenetrable, the pacing is ponderous, and the film noir style can't conceal a crucial piece of misconceived casting.
    • Wall Street Journal
  12. Five or 10 children might have led to comedy; 533 of them make for farce. All the same, Mr. Huard is endearing in the role of a perpetual adolescent who finally wants to stand up to his responsibilities, which include the one baby he has fathered the traditional way, and in his own name.
  13. The carnival is loud, brash, brassy, sexy and sometimes tacky or silly, but always entertaining.
    • 49 Metascore
    • 10 Critic Score
    Ms. Stone. She alternates between two expressions here: sullen, and aghast. Then again, if you were listed on the credits as the co-producer of this violently dull piece of shlock, you'd look that way, too. [16 Feb 1995, p.A12]
    • Wall Street Journal
  14. If glum were good and bleak were best, Hart's War would be a standout.
    • Wall Street Journal
  15. When Kevin Spacey takes center stage, our planet really does seem bright.
    • Wall Street Journal
  16. A movie's script is its fate, which means this one is doomed.
    • Wall Street Journal
  17. Ever so slightly defective in the area of coherence; it plays as if it should have been written by a committee but they didn't bother to convene one.
    • Wall Street Journal
  18. Mr. Statham, the specialist in English tough guys who was so affecting in "The Bank Job," has more to offer than The Mechanic has the grace to receive.
  19. At many points along the way I wanted to wash my hands of Scotland, PA., but then this sly, silly comedy got me smiling again.
    • Wall Street Journal
    • 49 Metascore
    • 50 Critic Score
    Earnest but deeply flawed.
    • Wall Street Journal
  20. Movies often turn on slender notions worked up to look like full-fledged ideas. Once in a while, though, a notion will be fertile to begin with, a self-renewing source of delight. That's the case with Luc Besson's Angel-A.
  21. An odd but agreeable little comedy.
    • Wall Street Journal
  22. The movie is a relentlessly intense, grotesquely overblown and numbingly long account of extraordinary heroism on the part of six American security operators in the midst of horrific chaos.
  23. Terrific performers doing what they're often forced to do, overcoming sorely flawed material.
    • Wall Street Journal
  24. It's a movie devoted to showing it, shaking it and selling it with huge zest and self-delight, a movie that raises MTV-style dada to the status of superheated mama, even though, toward the end, it wears awfully thin rather than svelte.
    • Wall Street Journal
  25. Now the two men are back, along with Irene. But she vanishes all too soon in this overproduced, self-enchanted sequel, and so does the spirit of bright invention that made the previous film such a pleasant surprise.
  26. My First Mister, which was written by Jill Franklyn, watches Jennifer with lively interest, but rarely pierces the mysteries of her soul.
    • Wall Street Journal
  27. For all its sporadic philosophizing and belated stabs at romance, Live by Night is cold and inert at its core. That’s really the long and short of it.
  28. In a movie devoted mainly to making you laugh, it’s a plea for tolerance that takes your breath away.

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