Wall Street Journal's Scores

  • Movies
  • TV
For 3,073 reviews, this publication has graded:
  • 44% higher than the average critic
  • 2% same as the average critic
  • 54% 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: 62
Highest review score: 100 Nostalgia for the Light
Lowest review score: 0 The Girl in the Spider's Web
Score distribution:
3073 movie reviews
  1. This delightful and useful documentary by Mariem Pérez Riera catches its subject at a piquant point in her career
  2. As pleasing as the film is, some of it feels arbitrary, underdeveloped, possibly rushed.
  3. Mr. Bulger does a fine enough job defending his own legacy, being, at age 87, a still-charismatic figure and one who refuses to condemn his brother, or even concede that the family knew everything about its black sheep’s nefarious career.
  4. Infinite was directed by Antoine Fuqua, who like this film is always very busy without any particular destination.
  5. It’s a gentle, often funny meditation on advancing age and the fragile joys of youth.
  6. The energy feels authentic, and endlessly renewable. The cultural matrix is specific, yet the passions are universal. This grand and welcoming entertainment is exactly what’s needed to bring movie audiences back into the fold.
  7. Fatigue has caught up with the Warrens, and the question about the franchise is not where it can go from here, but how much longer it can be sustained by humdrum deviltry.
  8. Undine isn’t a conventional romance, or a readily accessible one, but open yourself to this special film and you’re liable to be hooked.
  9. Every joke is leaned on, as if it were some Shavian gem; every pregnant pause eventually aborts.
  10. This follow-up offers the solid satisfactions of suspense and intensity without the delight of discovery.
  11. The material is often intimate, often heartbreaking.
  12. The new film, playing in theaters, devotes itself more obviously to making us feel good, but it succeeds.
  13. Watching the film is such an intense experience that most of its flaws fall away and its red herrings serve only to enhance the local color.
  14. Many movies are about only one thing, just as many performers display only one emotion at a time. Mr. Jensen’s film is about so many things, and varies its tone so fearlessly, that watching it gives you whiplash: I for one loved the whipping.
  15. A comedy afflicted with terminal unfunniness, Here Today, which is playing in theaters, may well be gone tomorrow.
  16. Some films make do with stories that present an interesting surface and little more. In “The Boy From Medellín” undercurrents run constantly. Depression and anxiety provide two of them, but the most dramatic one—the source of the film’s genuine suspense—flows from politics.
  17. A film like About Endlessness invites comparisons not to other movies, but to other media. The Preludes of Chopin or Debussy, for instance, brilliant flashes that don’t need to go anywhere, but might. Or something like Baudelaire’s “Paris Spleen,” an intriguing whole composed of incongruous poetic fragments.
  18. Percy Vs Goliath has a solid sense of place—the Canadian prairie—and Mr. Walken gives us a solid sense of Percy, a man whose instincts are so contrarian he sometimes seems unsure whom to disagree with, or what to refuse to do.
  19. Golden Arm could be interpreted as having a profound feminist message and liberating agenda. Mostly, it’s just goofy fun. An antic romp. A briskly paced gag fest. A lot of wrist, no relaxation.
  20. Lucy the Human Chimp is a creative assemblage of sundry parts: The archival footage, of which there is a wealth; the news coverage given Lucy when she was a celebrity; and extensive restagings and re-enactments, a device that in many documentaries is either stiff or profoundly unreal but under Alex Parkinson’s direction—and with Lorna Nickson Brown in the role of Janis Carter—rings true.
  21. There is a bit of gore toward the end of Things Heard & Seen that seems gratuitous, like a bone thrown to the genre audience. But it also points out how smart the film has been for so long, and so allergic to clichés, while still being satisfyingly scary.
  22. Sweet, funny, a little melancholy and a little obvious.
  23. That the film is online because of the Covid-19 pandemic might be considered a silver lining: Not only will more people be able to see it, but they can, and should, experience it through headphones. A big screen would be nice, too, given Ms. Rovner’s hallucinogenic way with pictures. But the sound, as she would probably agree, is paramount.
  24. All in all, Mr. Papadimitropoulos maintains a delicate balance between the wryly hilarious and the heartbreaking, and sometimes the high wire trembles. But danger is intoxicating, and Chloe and Mickey—along with their audience—spend much of “Monday” delightfully drunk.
  25. Mayhem is the point. And on that, at least, the movie certainly delivers.
  26. Joy may not be sweeping the nation portrayed in Our Towns, exactly. But a certain amount of happiness abounds.
  27. The filmmaking is strong and confident throughout, while Mr. Brummer’s performance is a constant revelation.
  28. The film’s ponderous pace, its deficit of emotional energy, its ugly colors, its repetitive chases down more corridors than anyone has seen since “Last Year at Marienbad,” and its actors’ shared penchant for mumbling and scowling make those 108 minutes seem interminable.
  29. Concrete Cowboy is far from perfect, but it’s vividly alive. If the choice must be between that and careful craftsmanship, life carries the day.
  30. It’s hard to believe that human minds conceived the story line of Godzilla vs. Kong—not because it’s so intricate, elegant or spiritually elevated, but because it’s so incoherent and idiotic.

Top Trailers