Wall Street Journal's Scores

  • Movies
  • TV
For 2,244 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 2.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Lars and the Real Girl
Lowest review score: 0 Flipped
Score distribution:
2,244 movie reviews
  1. A gross-out saga that sentient adults should avoid like the plague.
    • Wall Street Journal
  2. Adam Green's Frozen explores a tiny idea exhaustively, and I mean exhaustively.
  3. The plot borrows as freely from Hitchcock and Henry James as from the Bard of Avon, and doesn't make scrupulous sense, though I'd have to see the film again, which I won't do, to make sure it doesn't cheat.
  4. The failure lies not with the film's director, Marc Forster, nor with its impressive star, Gerard Butler, but with Jason Keller's dreadfully earnest script, which charts the hero's spiritual journey, and his Rambo-esque exploits, without offering a scintilla of mature perspective on his state of mind.
  5. It's "The Sixth Sense" as nonsense, "Eternal Sunshine of the Spotless Mind" without the sunshine. Or the mind.
    • Wall Street Journal
    • 43 Metascore
    • 40 Critic Score
    Does not bring a single fresh, inventive idea to the table.
    • Wall Street Journal
  6. Whatever one may think of the overall style--I think it's ludicrous--Mr. Fuqua clearly wanted his film to be operatic, and so it is, in a tone-deaf way.
  7. A surprise and a not-so-guilty pleasure.
    • Wall Street Journal
    • 43 Metascore
    • 60 Critic Score
    As reassuring and soothing as a nursery story.
    • Wall Street Journal
  8. While the action flashes back and forth in increments of centuries, years or months, we're adrift in the here and now, trying to get a grip on the characters and their relationships, yet finding it loosened with every new dislocation.
  9. I watched the film in an agitated space between engrossed and aghast.
  10. Joyless and largely witless sci-fi fantasy.
    • Wall Street Journal
  11. Go in with lowered expectations, and expect to have them dashed.
    • Wall Street Journal
  12. Insurgent opens new horizons of repetitiveness, dramatic shapelessness, self-seriousness and a generalized oppressiveness that flows from all of the above as well as from visual clutter, cheerless color, 3-D dimness and plain old bad acting.
  13. Sanctum is far from a good movie, just as 3-D is far from the movie industry's savior. But it certainly looks good, and watching it through those plastic glasses reopens your eyes to the promise of the third dimension.
  14. Starts well with the stirring spectacle of young men and women, members of a National Guard unit stationed south of Baghdad, struggling to do their duty in an alien land of unfathomable danger. Once they return, however, wounded physically or shattered spiritually, the film turns didactic, contrived and occasionally ludicrous.
    • Wall Street Journal
  15. None of it is enough, though, to save this glum drama from its schematic self.
    • Wall Street Journal
  16. It isn't a great film, or even a greatly original one. Still, it has many grace notes, and interesting oddities.
  17. Ambitious to a fault, this cautionary fantasy about artificial intelligence has so much on its muddled mind, and so little sense of dramatic grounding, that it grows ever more preposterous before lurching to a climax that's utterly unfathomable.
  18. You need only watch the trailer to know that The Internship is a promo for Google; think Google for Dummies, as well as Summer Comedy for Dummies. It's as if the writers googled "how to write a script" and nothing came up, so they wrote this anyway.
    • Wall Street Journal
  19. Manages to make its live actors sound -- and even sometimes look -- computer generated. This wan, sluggish comedy wouldn't pass muster as a premium-cable original, but here it is on the big screen.
    • Wall Street Journal
    • 42 Metascore
    • 40 Critic Score
    Exemplifies Hollywood's standard practice of stomping a brilliant concept beyond recognition.
    • Wall Street Journal
  20. The story wanders unconvincingly and tediously into corporate law offices and big, splashy nightclubs. Still, Mr. Hackford has the documentary maker's eye for realistic detail, so it all looks right. [01 Mar 1984]
    • Wall Street Journal
  21. The essence of this grindingly violent movie can be summed up by what Parker says of his handgun to a terrified clerk at a check-cashing service: "It's small, but it hurts."
  22. A pitiful shambles of a remake, The Stepford Wives might have qualified as a rethinking of the 1975 original if there were any trace of coherent thought in the finished product.
    • Wall Street Journal
  23. Still, the action is ponderous too. Mr. Morel is no Kubrick, or Tarantino, just as Mr. Travolta's caricature of John Travolta is no Travolta.
  24. Mr. Freeman, a superb actor, creates the illusion of drama even when there is none.
    • Wall Street Journal
  25. Beware of idiocy's charms.
  26. What I don't understand is why this extended piece of idiocy chose to sink its stinky teeth into our 16th president. If an axe-wielding hero was required, George Washington would have been the better choice, with the Redcoats as bloodsuckers.
  27. The Loss of Sexual Innocence is a work of intransigent anger and barely relieved depression. [28 May 1999]
    • Wall Street Journal

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