For 62 reviews, this critic has graded:
  • 35% higher than the average critic
  • 6% same as the average critic
  • 59% lower than the average critic
On average, this critic grades 5.3 points lower than other critics. (0-100 point scale)

Wes Greene's Scores

  • Movies
  • TV
Average review score: 56
Highest review score: 88 I Touched All Your Stuff
Lowest review score: 12 Happy Birthday
Score distribution:
  1. Positive: 35 out of 62
  2. Negative: 13 out of 62
62 movie reviews
    • 62 Metascore
    • 88 Wes Greene
    A documentary whatsit acutely aware of the inherent performance people put into social discourse to maintain appearances.
    • 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.
    • 62 Metascore
    • 88 Wes Greene
    The film isn't so much about "the end of cinema" as it is about the people who abuse the medium and their subjects for their own political agenda.
    • 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.
    • 75 Metascore
    • 75 Wes Greene
    Throughout A Family Affair, time is continually collapsed to the point where events separated by many years bleed into one another.
    • 75 Metascore
    • 75 Wes Greene
    The doc emerges not so much as a glimpse into the mind of a dying artist than as a factual drama on how loved ones are impacted by an individual's death.
    • 70 Metascore
    • 75 Wes Greene
    Kelly Daniela Norris and T.W. Pittman's film immediately announces itself as a modest triumph of world-building.
    • 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.
    • 65 Metascore
    • 75 Wes Greene
    The visible numbness and empty stares of the doc's three subjects painfully evoke years of being gripped by the war on drugs.
    • 73 Metascore
    • 75 Wes Greene
    Rarely do the interviewees express their own thoughts on Beltracchi, as Birkenstock lets him speak for himself, for better and for worse.
    • 67 Metascore
    • 75 Wes Greene
    Jacques Perrin and Jacques Cluzaud's Seasons is a nature documentary that reveals itself as a story of tragic usurpation.
    • tbd Metascore
    • 75 Wes Greene
    It effectively implies that the subjects' troublemaking is the stuff of transience, a phase before they're ushered into the realm of adult responsibility.
    • 61 Metascore
    • 75 Wes Greene
    The documentary advances its cause through an intimately diaristic depiction of hard work done well.
    • 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.
    • 62 Metascore
    • 75 Wes Greene
    The film feels most real, even at its most absurd, when focused on the idea of closure as a kind of fantasy.
    • 69 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.
    • 59 Metascore
    • 63 Wes Greene
    First-person accounts from individuals most affected by the drop in agricultural productivity are rarely the focus of the film's vision.
    • tbd Metascore
    • 63 Wes Greene
    Pegi Vail beautifully edited film somehow addresses a lot, but ultimately says nothing at all.
    • 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.
    • 45 Metascore
    • 63 Wes Greene
    Its fixation on life's quotidian aspects gives way to a less imaginative focus on an inevitable and overly familiar romance.
    • 46 Metascore
    • 63 Wes Greene
    Aaron Paul possesses an innate everyman quality that lends itself well to writer-director Zack Whedon's film.
    • 60 Metascore
    • 63 Wes Greene
    Yael Melamede doesn't dwell on each of her subjects' stories beyond the condensed version that's related on screen.
    • 66 Metascore
    • 63 Wes Greene
    The filmmakers are thankfully willing to render, with unremitting vigor, how grief can batter the human heart.
    • 66 Metascore
    • 63 Wes Greene
    The filmmakers refuse to promote a political agenda of their own in order to let the varied convictions of others foster a necessary dialogue.
    • 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.
    • 64 Metascore
    • 63 Wes Greene
    It ends on a muted whimper of a note that one doesn't expect given that the film's subject is such an immensely entertaining raconteur.
    • 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.
    • 72 Metascore
    • 63 Wes Greene
    The sobering quality that informs both the documentary's aesthetic and content largely suppresses any spontaneity or much-needed moments of levity.
    • 62 Metascore
    • 63 Wes Greene
    It appears afraid of alienating viewers by overloading on scientific jargon, and in the process becomes too attracted to ultimately superfluous anecdotes from her subjects.
    • 69 Metascore
    • 63 Wes Greene
    It may channel the loose, adrenaline-fueled lives of pilots, but the film's inconsistent, often impassive study of this intriguing real-life adventure feels half-told.

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