Wall Street Journal's Scores

  • Movies
  • TV
For 2,728 reviews, this publication has graded:
  • 43% higher than the average critic
  • 2% same as the average critic
  • 55% lower than the average critic
On average, this publication grades 3 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Stephanie Daley
Lowest review score: 0 Henry Fool
Score distribution:
2728 movie reviews
  1. In the spirit of that world, I cannot tell a lie: The Invention of Lying, which the English comedian both directed and wrote with Matthew Robinson, soon loses altitude and eventually falls flat.
    • 25 Metascore
    • 30 Critic Score
    The inert License to Wed shambles along one lame scene after another.
  2. What a peculiar production this is. Up to a certain point, it really does promise to be romantic.
  3. This is one of those overworked and generally airless comedies with a sitcom premise that can't sustain life.
  4. Palindromes finds him (Solondz) stuck with his single theme inside a sealed dollhouse of his own construction. He has gifts to give a larger audience, if ever he breaks out.
    • Wall Street Journal
  5. Perhaps some of the goofiness was intentional — you can’t always tell from this production’s wavering tone — but Spectre is full of not-good things, and some oppressively bad things that may come to feel like drill bits twirling in your skull.
  6. Goes down fighting, but it goes down just the same.
    • Wall Street Journal
  7. Rather than the laugh a minute promised by old comedies, Get Smart generates approximately one laugh per hour, and I can't remember either one.
  8. The failures of White Squall are dismaying as well as perplexing. Director Ridley Scott serves up some ravishing images along the way: the stark geometry of the ship's riggings against an azure sky, crew kids scampering along a verdant ridge toward a volcano's silvery crater lake. But the script is a shambles. [06 Feb 1996]
    • Wall Street Journal
  9. The larger problem, transcending all realms, is that this action-adventure sequel from Marvel soon turns so dumb and 3-D-murky that it hurts.
  10. Unforeseeably bad things can happen to good performers.
  11. The blithely dishonest script would have us believe that the real Napoleon can't prove his identity when the fake Napoleon refuses to come clean. Not only is that patent nonsense, it's cockeyed dramaturgy.
    • Wall Street Journal
  12. The crucial evidence has to do with rigor mortis. The movie's a stiff too.
    • Wall Street Journal
  13. N'ever was an apostrophe so misplaced, n'ever was the prospect of good cheer so perversely defeated.
    • Wall Street Journal
  14. 300
    300 presents a dual clash of civilizations. An action adventure that pits thousands of Persians against 300 brave Spartans at the Battle of Thermopylae, it also pits millions of fans of brainless violence against a gallant band, or so I choose to think of us, who still expect movies to contain detectable traces of humanity.
  15. For all its video-game bedazzlements, Attack of the Clones suffers from severe digital glut, periodically relieved, if you can call it that, by amateur theatrics.
    • Wall Street Journal
    • 46 Metascore
    • 30 Critic Score
    So tightly constructed of clichés, stereotypes and chick-lit tropes that it's inert; no fresh air can blow in.
  16. It’s overstuffed, and essentially empty.
  17. Ethan Hawke is appealing as a polysyllabic coward of some complexity, but Mr. Washington has been stripped of his usual verve and grace. Sometimes you can catch him going slack, like a man looking for the exit.
  18. What's missing is an emotional center. This Sinbad, with its flying ship and becalmed script, seems destined to be DreamWorks's version of Disney's "Treasure Planet."
    • Wall Street Journal
  19. Despite all the nervous tension, the central drama is flawed - Jonathan isn't trying to find a killer. He is the killer. Something is lacking in the dramatic equation.
  20. Mr. Samuell's stylistic revelries are meant as comments on the conventions and excesses of movie romance, but his approach is glib and self-congratulatory. No feelings dwell beneath the layers upon layers of faux-naïve artifice. I dare you to sit through this movie and not wish you were somewhere else.
    • Wall Street Journal
  21. 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.
  22. It's dispiriting to see how little attention the filmmakers have paid to the dramatic - read human - possibilities of the original, or how much they've been overwhelmed by technology's demands. It's as though rogue programs took over the production.
  23. Dud notions abound. So do belabored situations, misguided performances and ritual salutes to other films. Even the cinematography is ill-advised, since it’s literally off-color; warm tones meant to evoke romantic feelings come off as a jaundiced homage to Woody Allen, from whom many of this film’s tropes have been not-so-piquantly purloined.
  24. Knows that it's junk and tries feebly to rejoice in its junkiness.
    • Wall Street Journal
  25. The story plays out on two planets, Mars and Earth, while the production follows its own orbit in a state of zero gravity, zero nuance and subzero sense.
  26. Nobody doesn't like Tina Fey, and anyone aware of her starring role in Admission will be wishing her well. But wishing won't make this dramedy any less dreary than it is.
  27. Almost the entire movie is lifted from other sources, and then edited in a way that makes his enemies (do they know they’re his enemies?) look as foolish as possible. The punditry is trite. The snark is boring.
  28. Why is she (Bullock) demeaning herself with such shoddy goods? She’s a talented woman with a faithful following. She has made formula films of varying quality before, and her fans may well swallow this one, but it’s a formula for disappointment laced with dismay.

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