Wall Street Journal's Scores

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For 3,942 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 2.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Les Misérables
Lowest review score: 0 The Limits of Control
Score distribution:
  1. Positive: 2,101 out of 3942
  2. Mixed: 1,197 out of 3942
  3. Negative: 644 out of 3942
3942 movie reviews
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  1. Neil Young: Heart of Gold
    In one sense, Neil Young: Heart of Gold is just a simple concert film -- no cutaways during the music for interviews, no cameras swooping and soaring on giant booms. But simplicity in this case also means no barrier between us and the people on stage, as they sing some of the most soul-stirring pop songs I've seen performed in a very long time.
    • Wall Street Journal
  2. Bubble
    The experience is interesting, in a flattened way.
    • Wall Street Journal
  3. Nanny McPhee
    Oversweetened or not, "Mary Poppins" remains a deservedly beloved work of art. Nanny McPhee is an overproduced industrial enterprise.
    • Wall Street Journal
  4. Manderlay
    Hate is too strong an emotion to spend on such a clumsy, bloodless broadside against human foibles in general and American follies in particular.
    • Wall Street Journal
  5. Roving Mars
    Sometimes comes on like a NASA commercial; those logos loom gigantic on the IMAX screen. More troublingly, the film fails to explain how computer animations were combined with actual imagery from the missions.
    • Wall Street Journal
  6. Tristram Shandy: A Cock and Bull Story
    The result is a movie more concerned with movie-making than with the stuff of Sterne's great book, but a movie that's good for lots of laughs if you share its fondness for actors and for fatuous actors' banter, which I do.
    • Wall Street Journal
  7. Why We Fight
    Mr. Jarecki undercuts his own case -- not just undercuts but carpet-bombs it -- by using the same propaganda techniques he professes to abhor.
    • Wall Street Journal
  8. Glory Road
    This isn't a great film, but it's a surprisingly good and confident one, with a minimum of the showboating that often substitutes, in the feelgood genre, for simple feelings.
    • Wall Street Journal
  9. Last Holiday
    Once again, Queen Latifah survives some remarkably clumsy filmmaking. More than survives; she manages to prevail.
    • Wall Street Journal
  10. Fateless
    The film's power also lies in the honesty of its observation. Though Gyuri survives unfathomable horrors, he can't forget them and, in the end, doesn't want to. They're the only history he has.
    • Wall Street Journal
  11. The Promise
    So absurdly overproduced that there's even a surfeit of cherry blossoms. By the end they look like litter.
    • Wall Street Journal
  12. Match Point
    The movie wears thin as its style turns from light parody into affectation, and the plot, which certainly generates lots of anxiety, eventually settles for facile irony.
    • Wall Street Journal
  13. Casanova
    Little by little, though, he (Ledger)and those around him achieve a critical mass -- an extremely light critical mass -- and the plot pops with entertaining complications.
  14. The New World
    If only the showmanship were equal to the scholarship. As beautiful as the film is (despite notable variations in the quality of the cinematography), it is also sluggish, underdramatized after that initial suspense, and for the most part emotionally remote.
    • Wall Street Journal
  15. The Matador
    The Matador has its dull patches, one of which is relieved by Hope Davis's endearing presence as Danny's wife. But what fun it is to watch Julian losing it, and Pierce Brosnan nailing it. He's worth the price of admission and then some.
    • Wall Street Journal
  16. Munich
    Munich is a Spielberg film for better and worse, a vivid, sometimes simplistic thriller in which action speaks louder than ideas.
    • Wall Street Journal
  17. Caché (Hidden)
    Demanding, quietly breathtaking film.
    • Wall Street Journal
  18. The Three Burials of Melquiades Estrada
    I admired the leisure and intensity of this morality tale.
    • Wall Street Journal
  19. The Producers
    The Producers is nightmarish, in its febrile way, a head-bangingly primitive version of an overrated Broadway show that grew out of a clumsy 1968 movie with an inflated reputation.
    • Wall Street Journal
  20. King Kong
    Like Kong himself, it's imposing, sometimes endearing, and very rough around the edges.
    • Wall Street Journal
  21. Memoirs of a Geisha
    Oh, what awful voices -- clumsy words as well as cheesy accents -- come out of the actors' mouths! Though I wanted to appreciate the human story, and the lavish spectacle, I couldn't get past the clangorous echoes of Charlie Chan.
    • Wall Street Journal
  22. Brokeback Mountain
    Brokeback Mountain aspires to an epic sweep and achieves it, though with singular intimacy and grace.
    • Wall Street Journal
  23. Mrs Henderson Presents
    One of the wittiest comedies to come our way in a very long time.
    • Wall Street Journal
  24. The Chronicles of Narnia: The Lion, the Witch and the Wardrobe
    That's not to say that this first visit to a live-action Narnia on screen isn't enjoyable, or promising for the future of what will surely be a successful franchise. But there's not a lot of humor along the way, and the epic struggle between good and evil plays out in battles more impressive than thrilling.
    • Wall Street Journal
  25. The World's Fastest Indian
    Roger Donaldson's film is endearing in its own right as a celebration of a strong-willed eccentric, and memorable as a showcase for a brilliant actor in a benign mode.
    • Wall Street Journal
  26. Transamerica
    This debut feature left me in a state of movie euphoria. Who could have guessed that such a discomfiting premise would blossom into a deadpan-hilarious and yet deeply affecting story about a singular glitch in the human condition?
    • Wall Street Journal
  27. Rent
    Heart-breakingly awful -- slow, lugubrious, and misconceived to the point of baffling amateurism.
    • Wall Street Journal
  28. Syriana
    The film itself operates on shifting sands. Shot documentary-style, by Robert Elswit, and accompanied by a pounding soundtrack, Syriana makes high-octane melodrama look like revealed truth.
    • Wall Street Journal
  29. Harry Potter and the Goblet of Fire
    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.
    • Wall Street Journal
  30. Walk the Line
    Breaks through the conventions of its biopic form with a pair of brilliant performances and a whole lot more.
    • Wall Street Journal
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