Wesley Morris
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For 1,825 reviews, this critic has graded:
  • 51% higher than the average critic
  • 3% same as the average critic
  • 46% lower than the average critic
On average, this critic grades 0.4 points higher than other critics. (0-100 point scale)

Wesley Morris' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Magnolia
Lowest review score: 0 Lost Souls
Score distribution:
1,825 movie reviews
    • 64 Metascore
    • 88 Wesley Morris
    Incisive, highly entertaining political farce.
    • 87 Metascore
    • 88 Wesley Morris
    Has a power that doesn't announce itself until it's over: You leave not wanting to give up on life, just resentful of the world we live in.
    • 66 Metascore
    • 88 Wesley Morris
    The least opaque of Antonioni's films, unburdened by stylishness and his imagistic inflammations.
    • San Francisco Examiner
    • 78 Metascore
    • 88 Wesley Morris
    The movie has you from its nearly wordless opening sequence.
    • 51 Metascore
    • 88 Wesley Morris
    The best movie Steven Seagal never made. Except that Statham, while just as marked for death, is harder to kill.
    • 80 Metascore
    • 88 Wesley Morris
    Judy Irving's terrific documentary 'The Wild Parrots of Telegraph Hill is ostensibly about birds, but only in the way that a game of Scrabble is about tiles.
    • 71 Metascore
    • 88 Wesley Morris
    Beautiful, wandering little love story that wants to break your heart and probably will.
    • 82 Metascore
    • 88 Wesley Morris
    Eerily tragic and chillingly hard to come to terms with.
    • 68 Metascore
    • 88 Wesley Morris
    It infuriated me. It broke my heart. It convinced me that Caro, who's from New Zealand, is a strong, clear-voiced filmmaker
    • 64 Metascore
    • 88 Wesley Morris
    If their movie doesn't float your boat as a work of science-fiction, action, philosophy, heliocentrism, or staggering visual spectacle (although, it really should), then it certainly succeeds as a parable for cinematic ambition.
    • 77 Metascore
    • 88 Wesley Morris
    Really the film is a deft first-person character study with a war zone for a background.
    • 79 Metascore
    • 88 Wesley Morris
    This is a film of our times - paranoid, heartbroken, disillusioned - and the rare recent American movie whose characters react the way actual people might.
    • 83 Metascore
    • 88 Wesley Morris
    Wiseman has made several films about both disability and dance, but this new one might be his most hypnotic, rhythmically assembled observation of corporeal expression.
    • 84 Metascore
    • 88 Wesley Morris
    The movie observes the general misery of needing serious medical treatment and the particular awfulness of needing medical treatment you can't pay for.
    • 75 Metascore
    • 88 Wesley Morris
    This is the epidemic from love's point of view, a story as much about how the disease can ravage the heart as it does the body. It is also Téchiné's best film since 1998's superb "Alice et Martin," and 1994's even better "Wild Reeds."
    • 64 Metascore
    • 88 Wesley Morris
    AKA
    The triptych is a device but never a gimmick: three windows into one fractured soul.
    • 76 Metascore
    • 88 Wesley Morris
    Enormously enjoyable.
    • 84 Metascore
    • 88 Wesley Morris
    Revanche was a foreign-language Oscar nominee this year, and it's a better movie than most of the films in the main race. The word "revanche" means "revenge" in German, but "waiting" would have been just as good.
    • 94 Metascore
    • 88 Wesley Morris
    In The Hurt Locker, the thrill is unexpectedly contagious. You don't realize how riveted you are until you're back on American soil observing James in civilian life.
    • 72 Metascore
    • 88 Wesley Morris
    Moore's roving essay feels even more urgent now than it did when the jury had to make up an award to honor it at the Cannes film festival in May.
    • 61 Metascore
    • 88 Wesley Morris
    Fighting has real grit and excellent acting. In other words, there is gold in that dirt.
    • 51 Metascore
    • 88 Wesley Morris
    Antal is a professional who respects your dollars. In a season where the blockbusters are as flat as month-old soda, that’s the most romantic gesture a commercial filmmaker can make.
    • 75 Metascore
    • 88 Wesley Morris
    "Angélica" feels most like the film that argues Oliveira is this close to the beyond without ever bothering to knock first at death's door.
    • 76 Metascore
    • 88 Wesley Morris
    Washington hasn't been this relaxed in years. When he feels like it he can be the most charismatic star in the movies.
    • 73 Metascore
    • 88 Wesley Morris
    A chillingly effective documentary.
    • 69 Metascore
    • 88 Wesley Morris
    Frankly, the story isn’t remotely as interesting as Cage. Nothing is. In Ferrara’s movie, Keitel emptied himself out. But there’s a hellion’s joy in Cage’s cop.
    • 60 Metascore
    • 88 Wesley Morris
    Funny and untouched by cynical, ironic bids to be taken seriously.
    • 82 Metascore
    • 88 Wesley Morris
    If nothing else, The Filth and the Fury is a searing, forceful, entertainingly biased reminder only that the English group mattered - as musicians and as anti-social curs.
    • 81 Metascore
    • 88 Wesley Morris
    This is also the first of Martel’s films to build in a direction other than up. The film’s lateral movement continues a kind of class commentary.
    • 81 Metascore
    • 88 Wesley Morris
    Blair Witch forgoes a literal boogeyman in favor of the unseen, which, in this case, is as scarily bone-chilling as anything they could show you.
    • 65 Metascore
    • 88 Wesley Morris
    From Marber's fiercely polished writing, Nichols wrings every drop of acid, yet it's a show of the director's goodness that a movie fundamentally preoccupied with interpersonal ugliness is allowed to end on a convincing note of beauty.
    • 72 Metascore
    • 88 Wesley Morris
    Heymann's film was originally a six-part series for Israeli TV. The feature he and his crew have made smoothly truncates those three hours into a rich, discretely damning 85-minute portrait of intolerance.
    • 75 Metascore
    • 88 Wesley Morris
    The movie is a perfect blend of calm execution and uninflected farce.
    • 77 Metascore
    • 88 Wesley Morris
    More a bleak docu-melodrama than an esoteric morality play.
    • 73 Metascore
    • 88 Wesley Morris
    It's an imperfect but ambitious film willing to confront an enormous, complex period in this country.
    • 81 Metascore
    • 88 Wesley Morris
    It's delicately made, yet forceful in its delicacy.
    • 64 Metascore
    • 88 Wesley Morris
    Like so much Iranian cinema, Blackboards is a work of lyrical propaganda. But its metaphors are opaque enough to avoid didacticism, and the film succeeds as an emotionally accessible, almost mystical work.
    • 76 Metascore
    • 88 Wesley Morris
    The movie captures a kind of tragedy of self.
    • 60 Metascore
    • 88 Wesley Morris
    9
    Any optimism in 9, which is bound to try the fortitude of meeker children, feels hard-won. It actually ends in a bittersweet mystery.
    • 73 Metascore
    • 88 Wesley Morris
    The first more-than-halfway-decent movie of a new millennium.
    • 84 Metascore
    • 88 Wesley Morris
    Volver brims with personal and cinematic allusions, but no one hungry for a well-told tale from a master storyteller is required to understand them.
    • 87 Metascore
    • 88 Wesley Morris
    Almodovar imbues his Harlequin-novel-meets-Marvel-comic-book melodramas with something more than a wink and a smile, and it's beguiling.
    • 51 Metascore
    • 88 Wesley Morris
    The movie takes the ABBA jukebox musical that ate London, and is still eating Broadway, and turns it into a surprisingly sensuous experience.
    • 82 Metascore
    • 88 Wesley Morris
    A work of strangely bold, distinctly American pop art - proud to be ashamed, ashamed to be proud, unafraid to ignore its commercial bearings.
    • 52 Metascore
    • 88 Wesley Morris
    It's refreshing to see Gondry's moviemaking still possessed by the community spirit he caught a few years ago with "Dave Chappelle's Block Party."
    • 59 Metascore
    • 88 Wesley Morris
    The movie is the product of his (Friedman) big, shiny love of forgotten soul legends whom superstardom (and the Rock and Roll Hall of Fame, I might add) has eluded.
    • 92 Metascore
    • 88 Wesley Morris
    I liked these characters, and suddenly not having them in my life anymore, simply because Denis has decided to start the closing credits, devastated me.
    • 72 Metascore
    • 88 Wesley Morris
    The film sends you home moved and in a tuneful mood.
    • 78 Metascore
    • 88 Wesley Morris
    The movie is a block of paper that, when Tsai's finished with it, becomes a chain of snowflakes. Loneliness doesn't often get such a gorgeously ornate tribute.
    • 47 Metascore
    • 88 Wesley Morris
    Writers Nicholas Stoller and Judd Apatow remake is more devilish, hitting its targets with the reckless glee required for a round of Whac-A-Mole.
    • 85 Metascore
    • 88 Wesley Morris
    Soberly, deeply effective.
    • San Francisco Examiner
    • 61 Metascore
    • 88 Wesley Morris
    A movie too smart and too urgent to be categorically awful. Clinically insane may be another matter altogether.
    • San Francisco Examiner
    • 90 Metascore
    • 88 Wesley Morris
    Eyes Without a Face, outre as it is, never tires as hypnotic, touching, ghastly fun.
    • 85 Metascore
    • 88 Wesley Morris
    This emperor verges on dementia, having no apparent clue how to function.
    • 59 Metascore
    • 88 Wesley Morris
    In Criminal Lovers, the "Bonnie and Clyde" model of killing-as-erotica gets a shrewd, funny, decidedly French workout.
    • San Francisco Examiner
    • 52 Metascore
    • 88 Wesley Morris
    Feels like it could go blow up at any time. It implodes instead, and the meltdown, though visible in one of the final sequences, is still corrosive.
    • 57 Metascore
    • 88 Wesley Morris
    The shenanigans have been pared into 84 minutes of transgressive, potty-minded farce, that is often Waters at his most cheerful and most thematically focused.
    • San Francisco Examiner
    • 80 Metascore
    • 88 Wesley Morris
    Another triumph of modesty from a master who deserves real, paying audiences, not just the adoration of besotted film critics.
    • 59 Metascore
    • 88 Wesley Morris
    Despite its ultimate nuttiness, has a quiet, consuming power that sneaks up on you and doesn't go away. This is something new and ambitious for Von Trier: a work of compassion.
    • 74 Metascore
    • 88 Wesley Morris
    Brilliantly, the movie becomes a double coming-of-age story. The parents' political awakening parallels their daughter's.
    • 78 Metascore
    • 88 Wesley Morris
    It's hugely entertaining.
    • 61 Metascore
    • 88 Wesley Morris
    Who knows what movie Lonergan was searching for in all that footage? But what emerges from the tinkering and legal skirmishes is an occasional marvel, a kind of everyday highbrow social X-ray, Paul Mazursky by way of Krzysztof Kieslowski.
    • 64 Metascore
    • 88 Wesley Morris
    Che
    The labor applied to Che is apparent, but it would be wrong to characterize the movie as laborious the way it was in, say, 2006's "The Good German," where Soderbergh took great pains to re-create 1940s Hollywood wartime glamour.
    • 73 Metascore
    • 88 Wesley Morris
    Through it all, Ozon supplies a sense of pathos that makes fun of its own soullessness, transforming a self-serious suicide note into an existential love letter.
    • San Francisco Examiner
    • 92 Metascore
    • 88 Wesley Morris
    He even calls the majestic view from one of the hospital landings his Cinecittà, after the legendary Italian film studio. The movie is a Cinecittà of the mind.
    • 73 Metascore
    • 88 Wesley Morris
    A document of vexing (and vexed) immediacy.
    • 73 Metascore
    • 88 Wesley Morris
    It's a gas, dude!
    • 80 Metascore
    • 88 Wesley Morris
    The Mill and the Cross captures the wish that some of us have had while standing in front of a great painting. What hangs before us is so striking, beautiful, strange, vast, horrifying, ethereal, lifelike - so alive - that we're desperate to enter the other side of the canvas, to be inside the painting.
    • 77 Metascore
    • 88 Wesley Morris
    A knock-down, haywire ballad of the adrenalinization of love and despair.
    • 84 Metascore
    • 88 Wesley Morris
    The film is a tower of literary and cinematic references, tangential yet somehow essential characters, and one fantastic performance after another. It's a simple movie yet is anything but.
    • 78 Metascore
    • 88 Wesley Morris
    A smartly observed, unpretentious, and unconventional comedy of manners -- or more properly, it's a comedy of mannerisms.
    • 80 Metascore
    • 88 Wesley Morris
    Like "Life Is Sweet," "Secrets & Lies," and yes, 1971's "Bleak Moments," to name but three of Leigh's 10 semi-improvised character studies, Another Year is another frowning comedy.
    • 56 Metascore
    • 88 Wesley Morris
    What's astonishing is that the movie is not a half-baked production. The spectacle now LOOKS spectacular.
    • 66 Metascore
    • 88 Wesley Morris
    The movie isn't a critique of zoo life. But it's possible we have on our hands, in Nénette's captivity, a microcosm of celebrity star-gazing.
    • 62 Metascore
    • 88 Wesley Morris
    lluminating and exceptional docu-portrait.
    • 85 Metascore
    • 88 Wesley Morris
    The movies are smart -- smarter than you, but not in an off-putting way. Their basic appeal, especially this new one, is that Matt Damon’s killing machine, Jason Bourne, is the cleverest man on earth. And we thrill to his sense of superiority.
    • 81 Metascore
    • 88 Wesley Morris
    The director is becoming a master of blending the political and the personal with eloquence and deceptive lightness.
    • 90 Metascore
    • 88 Wesley Morris
    Mike Leigh's great big, superbly performed homage to the creative process.
    • 69 Metascore
    • 88 Wesley Morris
    A parody of and winking homage to the history of Thai melodrama, Wisit Sasanatieng's uproarious filmmaking debut exuberantly combines pop and kitsch with a wholesome belief in the thrills of bad art.
    • 75 Metascore
    • 88 Wesley Morris
    A collection of beautifully acted encounters, conversations, symbols, and vignettes woven into an evocative and unforgettably surreal garment.
    • 71 Metascore
    • 88 Wesley Morris
    Comes on as both a rebuke to male vanity and a chic metaphor for midlife panic.
    • 85 Metascore
    • 88 Wesley Morris
    What an amazing presence Gorintin has. Never mind her hunched back and white hair, she's no crone. She makes Eka needy for happiness but susceptible to heartbreak. It's a great performance, full of both joy and the quiet, disappointing parts of being alive that come with knowing change is part of life.
    • 72 Metascore
    • 88 Wesley Morris
    All the gears, in fact, are shamelessly visible, yet they lock smoothly and resonantly into place. If Akeelah and the Bee is a generic, well-oiled commercial contraption, it is the first to credibly dramatize the plight of a truly gifted, poor black child.
    • 77 Metascore
    • 88 Wesley Morris
    Barbara Kopple and Cecilia Peck's film is a fascinating look at the intersection of commerce, celebrity, and controversy.
    • 60 Metascore
    • 88 Wesley Morris
    To say the least, the film is awkward, like a piece of badly assembled Ikea furniture. Still, editor Bernadine Colish weaves together all that C-SPAN footage into a disturbing procedural indictment. Legislators use the same language - often the president's - to justify the rush to war. The repetition is comical until it's scary: They're parroting.
    • 76 Metascore
    • 88 Wesley Morris
    This is the best thing Mortensen's ever done. His slow, paunchy, hairy Freud has a cavalier authority and a capacity for drollery. He's also seductively wise in a way that makes both Fassbender and Knightley, as very good as they are, also seem uncharacteristically callow.
    • 82 Metascore
    • 88 Wesley Morris
    [Cuaron]'s a visionary and crafty storyteller who rewards your patience, not with twists in the plot, though the movie has its share, but with pure feeling. Deploying wit, grace, and artistry, he's whisked a kid flick into adolescence.
    • 86 Metascore
    • 88 Wesley Morris
    Boys Don't Cry's intensity sneaks up on you like a snake.
    • 87 Metascore
    • 88 Wesley Morris
    As Apichatpong erases, once again, the barriers between the celestial and terrestrial, he also does away with the cordons between film genres - this is sci-firomancefamilyreligiousthrillercomedyporn. No video service has a section for that. The only suitable shelf is the one in your soul.
    • 87 Metascore
    • 88 Wesley Morris
    The film's central drama is not between the former secretary and the filmmaker. It's between McNamara and history.
    • 71 Metascore
    • 88 Wesley Morris
    Ultimately, Bingenheimer seems underwhelmed with himself. The people who know him say, in the movie, that he's a relic. Mayor of the Sunset Strip makes heartbreakingly clear what a glorious relic Bingenheimer is.
    • 61 Metascore
    • 88 Wesley Morris
    Proves acutely subtle. But its question of what we forgive art in the face of atrocity and immorality is one for the ages.
    • 79 Metascore
    • 88 Wesley Morris
    Oasis is that rare miraculous whirlwind romance that moves from attempted rape to reverence without kicking up a lot of dust.
    • 69 Metascore
    • 88 Wesley Morris
    We have lots of terminology for what happens when two male stars appear to have the platonic hots for each other. The genre is called bromance. The feelings are bromantic. The orientation is bromosexuality. What Jonah Hill and Channing Tatum have in 21 Jump Street scrambles, transcends, and explodes all of that.
    • 73 Metascore
    • 88 Wesley Morris
    Awash in strangeness, a poem that details what it's like to be 13 at the end of a millennium.
    • 78 Metascore
    • 88 Wesley Morris
    Segues from the merely quirky into the bizarrely unthinkable.
    • 90 Metascore
    • 88 Wesley Morris
    More often than not the film casts an infectious, evocative spell.
    • San Francisco Examiner
    • 66 Metascore
    • 88 Wesley Morris
    It's the rawest, most hot-blooded, provocatively audacious, dangerous movie to come of out Hollywood this year.
    • 84 Metascore
    • 88 Wesley Morris
    Hysterical-depressing, vividly sobering.
    • 88 Metascore
    • 88 Wesley Morris
    Imbued with infectious pluck. It's also a lucid, competent, titanically entertaining movie loaded with workable gags.

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