Wall Street Journal's Scores

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For 3,961 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 Les Misérables
Lowest review score: 0 The Limits of Control
Score distribution:
  1. Positive: 2,111 out of 3961
  2. Mixed: 1,202 out of 3961
  3. Negative: 648 out of 3961
3961 movie reviews
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  1. Chasing Liberty
    A not-bad idea lurks inside this insipid story.
    • Wall Street Journal
  2. Cheaper by the Dozen
    Something of a shambles -- a shambles about a shambles -- but bound for big success and deservedly so.
    • Wall Street Journal
  3. Cold Mountain
    Looks splendid and commands respect, but leaves you wondering what essential something you missed. It's a worthy film at war with itself.
    • Wall Street Journal
  4. Peter Pan
    Lavishly produced -- overproduced, actually -- and persistently unexciting.
    • Wall Street Journal
  5. The Company
    Clearly Mr. Altman was enthralled by the company's work process, an alchemy through which sweat and muscularity on the rehearsal-room floor become exquisite abstractions on stage. His pleasure is infectious.
    • Wall Street Journal
  6. Monster
    A seasoned director might have known when to ask Ms. Theron to do less, or nothing at all; as things stand, she acts at every single moment. But what brave and ferocious acting she does.
    • Wall Street Journal
  7. Mona Lisa Smile
    The performances, under Mike Newell's direction, range from conventional (Ms. Roberts) to dreadful, and the script is as shallow as an old Cosmo cover story.
    • Wall Street Journal
  8. The Fog of War: Eleven Lessons from the Life of Robert S. McNamara
    Haunting, troubling documentary.
    • Wall Street Journal
  9. House of Sand and Fog
    Though the film is somber, it certainly commands one's attention, and for a while one's respect.
    • Wall Street Journal
  10. Calendar Girls
    Very funny and surprisingly likable until it goes Hollywood.
    • Wall Street Journal
  11. The Lord of the Rings: The Return of the King
    The invisible wizard Peter Jackson makes use of every scene to show us the meaning of magnificence. Never has a filmmaker aimed higher, or achieved more.
    • Wall Street Journal
  12. Girl with a Pearl Earring
    Eye caviar that doesn't pretend to be much else.
    • Wall Street Journal
  13. Something's Gotta Give
    Diane Keaton has the crucial role, and she makes the most of it.
    • Wall Street Journal
  14. Stuck on You
    The film has a surprisingly sweet spirit, and its co-stars respect the human core in their garish material; Mr. Kinnear, especially, has never been more likable.
    • Wall Street Journal
  15. Big Fish
    Simultaneously beguiling and frustrating -- the product of an imagist and dramatist uncomfortably conjoined.
    • Wall Street Journal
  16. The Last Samurai
    Too many mind and the story grows tedious or absurd. No mind and the spectacle suffices.
    • Wall Street Journal
  17. My Flesh and Blood
    By turns chilling, mysterious and inspiring; sometimes it's all of those at once.
    • Wall Street Journal
  18. In America
    Magic suffuses this film -- performances that approach perfection, or achieve it, moments of exceptional grace as a troubled family plays out a contemporary version of a classic immigration saga, healing itself in the process.
    • Wall Street Journal
  19. The Triplets of Belleville
    A single seeing isn't enough to take in the eccentric marvels of The Triplets of Belleville, an animated feature by Sylvain Chomet that creates a visual language all its own.
    • Wall Street Journal
  20. Bad Santa
    I wanted to believe in Bad Santa. At least half of the time I did.
    • Wall Street Journal
  21. The Haunted Mansion
    The only entertaining member of the cast is Terence Stamp.
    • Wall Street Journal
  22. Timeline
    Timeline has negative energy to burn. There's even less of it by the end than at the beginning.
    • Wall Street Journal
  23. 21 Grams
    Mr. Penn has been praised lavishly for his work in "Mystic River," in a role that was no reach for him at all, but this is one of the stand-out performances of his career, layered and exquisitely nuanced. And, remarkably, he's only one-third of a stellar ensemble.
    • Wall Street Journal
  24. The Cat in the Hat
    An abomination, impure and simple.
    • Wall Street Journal
  25. Gothika
    Ms. Berry works hard in her role, generating some excitement in the course of her distress. But the story's convolutions can't cover a deficit of substance, or sense.
    • Wall Street Journal
  26. The Barbarian Invasions
    The film grows on you too, a later-stage version of "The Big Chill" that starts schematically and ends as a stirring celebration.
    • Wall Street Journal
  27. The Missing
    If you're able to take The Missing seriously, as I was not, you'll be impressed by its sweep and ambition. The most lasting impression it made on me was one of absurd overreaching.
    • Wall Street Journal
  28. Master and Commander: The Far Side of the World
    Just as Aubrey's authority springs from skill and knowledge, so does the film's power. They don't make movies like this any more because few people know how to make them.
    • Wall Street Journal
  29. Love Actually
    Gets to be dislikable in its glib feelgoodness. The movie's many excellent actors do too much acting with too little conviction in scenes that rush through perfunctory setups to deliver pat payoffs.
    • Wall Street Journal
  30. Gloomy Sunday
    Who knew that one of Billie Holiday's most haunting songs was written in Budapest in the 1930s? I didn't until I saw Gloomy Sunday, a German film, shot in Hungary and directed by Rolf Schubel, that I enjoyed quite a lot, even though it's all over the map in more ways than one.
    • Wall Street Journal
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