For 20 reviews, this critic has graded:
  • 30% higher than the average critic
  • 5% same as the average critic
  • 65% lower than the average critic
On average, this critic grades 6.6 points lower than other critics. (0-100 point scale)

Wes Greene's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 88 Northern Light
Lowest review score: 12 After
Score distribution:
  1. Positive: 10 out of 20
  2. Negative: 6 out of 20
20 movie reviews
    • 84 Metascore
    • 88 Wes Greene
    The film has an atmosphere of endless experimentation, which compliments the constant revision the subjects apply to their lives in the wake of their economic insecurity.
    • 52 Metascore
    • 75 Wes Greene
    Like their earlier Trouble the Water, Carl Deal and Tia Lessin portray men and women yearning for a simple place in society as they become casualties to the self-involvement of larger forces.
    • 81 Metascore
    • 75 Wes Greene
    In its visionary dream and flashback sequences, the film becomes a comment on the rapidly diminished state of traditional animation.
    • 62 Metascore
    • 75 Wes Greene
    Perhaps Sanjay Rawal's most fascinating excursion into agriculture's dark side is the vineyards of Napa Valley, where the practically Eden-like scenery masks a dreary labor model.
    • 70 Metascore
    • 63 Wes Greene
    Daniel Patrick Carbone's pensive style, so dotted with ethnographic detail, is interested in revealing a world in flux, but his fixation on death is so incessant that it situates the film as a morose fetish object.
    • 67 Metascore
    • 63 Wes Greene
    The material and resources are certainly substantial, but the filmmakers clumsily weave separate stories together without detailing anything beyond a tangential relation.
    • 72 Metascore
    • 63 Wes Greene
    The unbalanced appraisal of Vidal's life and work in Nicholas Wrathall's documentary diminishes the effect of the writer's engaging dissension of American political policy.
    • 65 Metascore
    • 63 Wes Greene
    It offers a realistic portrayal of Momo's emotional state, but this comes at the expense of a deeper exploration into both the story's lush supernatural landscape and its inhabitants.
    • 55 Metascore
    • 63 Wes Greene
    A rigidly predetermined film that runs on the fumes of hackneyed plot points, squandering at nearly every turn a humanistic study of a family's struggle to maintain a tenable bond with one another.
    • 61 Metascore
    • 50 Wes Greene
    Even though the subtext about the past and modernity constantly being at odds throughout the setting's changing times is intriguing, the director presents this in a clunky, almost didactic fashion.
    • 71 Metascore
    • 50 Wes Greene
    A well-intentioned story of an impoverished father searching for his missing child is muddled by an ambitious sociological agenda in Richie Mehta's film.
    • 52 Metascore
    • 50 Wes Greene
    Its offbeat aesthetic largely flaunts for appeal, suffocating character and thematic ambition underneath its flashiness.
    • 28 Metascore
    • 38 Wes Greene
    It borders on parody as it tries to portray its hero as martyrdom-bound genius, which makes the film feel as if it was made by Franco's vain, art-fetishizing character from "This Is the End."
    • 45 Metascore
    • 38 Wes Greene
    As the film is focused solely through the lens of the titular characters' cameras, this limits the exploration of the story's worldview outside of Hank and Asha's perspective.
    • 39 Metascore
    • 38 Wes Greene
    The story allows for Ryan Phillippe to indulge in a self-deprecating brand of satire, but he can't work up enough courage to ever make his character--and, by extension, himself--the brunt of any of the film's barbs.
    • 45 Metascore
    • 25 Wes Greene
    Red is the kind of lazily written, thankless curmudgeon role that uses the trials of advanced age for cheap laughs rather than harnessing a veteran actor's talent to engage our empathy.
    • 36 Metascore
    • 25 Wes Greene
    It purports to be an incisive character study dramatized through outré "dream logic," but Sharon Greytak's ineptitude at this very Lynchian aesthetic sucks all nuance and spirit out of the film.
    • 25 Metascore
    • 12 Wes Greene
    Throughout After, the filmmakers crank the trials of the film's Valentino family up to 11, sans irony or subversion.

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