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 The Devil Inside
Score distribution:
1,825 movie reviews
    • 78 Metascore
    • 100 Wesley Morris
    Her (Anderson) performance is a study in the difference between hubris and pride, remarkable for how unshowy but profoundly devastating it is.
    • 75 Metascore
    • 100 Wesley Morris
    A further, captivating extension of Oshima's marriage of the oblique and the erotic.
    • 83 Metascore
    • 100 Wesley Morris
    There's a seething moral core in Amores Perros that uses the canine savagery as an entre to human brutality.
    • 79 Metascore
    • 100 Wesley Morris
    A vicious horror flick with an actual beast and someone who just acts like one.
    • 70 Metascore
    • 100 Wesley Morris
    Turns into something like a screwball farce, an intimate, self-aware one.
    • 73 Metascore
    • 100 Wesley Morris
    Makes a term like neo-noir seem like a fatuous catch phrase.
    • 46 Metascore
    • 100 Wesley Morris
    It's the year's best movie sex.
    • 70 Metascore
    • 100 Wesley Morris
    Meanders around Holly Springs, Mississippi, with the fuzzy benevolence of a Hallmark Hall of Fame presentation.
    • 68 Metascore
    • 100 Wesley Morris
    Gets diagnosably schizo.
    • 83 Metascore
    • 100 Wesley Morris
    With Election, Payne announces himself as one of the keenest purveyors of the scattered pieces that once was an American morality.
    • 76 Metascore
    • 100 Wesley Morris
    Ethereal.
    • 91 Metascore
    • 100 Wesley Morris
    Elegant.
    • 86 Metascore
    • 100 Wesley Morris
    A momentously, shockingly moving fit of shape-shifting by a filmmaker grown tired of the macabre.
    • 52 Metascore
    • 100 Wesley Morris
    So phenomenal that Bill Murray can't even steal it. And he tries. So excellent that Murray's MTV progeny Tom Green can't sink it.
    • San Francisco Examiner
    • 76 Metascore
    • 100 Wesley Morris
    It's that rare movie with a sense of timeliness that is eternal, and a protagonist whose soul-crushed angst, even at its most fatal, speaks to the little boy/girl lost in everyone.
    • 77 Metascore
    • 100 Wesley Morris
    Spellbinding.
    • 90 Metascore
    • 100 Wesley Morris
    It's the film we leave most movie theaters wishing we'd seen instead.
    • 88 Metascore
    • 100 Wesley Morris
    It's a glimmering hunk of fractured brilliance riddled with Orwellian paranoia encased in a production design seemingly pieced together from the shared dreams of Franz Kakfa and Salvador Dali, and shot from cruelly low angles.
    • 89 Metascore
    • 100 Wesley Morris
    Part aerobics workout, part self-styled dreamscape, Sense is a hyperactive piece of performance art that begins as the stripped-down dress rehearsal of a garage band and builds into a mighty, exhausting spectacle that shakes as much ass as it kicks. [Review of re-release]
    • 84 Metascore
    • 100 Wesley Morris
    Guy Maddin is a scholar, poet, prankster, and ferociously devoted classicist who likes to resurrect dead cinemas and deader directors and make them vital all over again.
    • 86 Metascore
    • 100 Wesley Morris
    Who most of these exquisitely costumed people are I have no idea, but they brush past the camera in such rapids of jubilation it's a wonder they don't knock the thing over. I watched most of the film exhilarated, but depressed that I'm not a big Russophile.
    • 86 Metascore
    • 100 Wesley Morris
    Ten
    The new Abbas Kiarostami film is called Ten, and in it something amazing happens: nothing.
    • 72 Metascore
    • 100 Wesley Morris
    A deep, exhaustive, and moving piece of do-it-yourself detective work.
    • 83 Metascore
    • 100 Wesley Morris
    Like no movie before it, Adaptation risks everything -- its cool, its credibility, its very soul -- to expose the horror of making art for the business of entertainment.
    • 84 Metascore
    • 100 Wesley Morris
    This is a love letter from one auteur to another that doesn't feel like a term paper. Instead, Far From Heaven is an honest-to-God drama with resonance all its own.
    • 87 Metascore
    • 100 Wesley Morris
    Nothing momentous happens here, but Philibert has a magical sense of how to find the simple poetry lurking in the universal routine of being a kid. A lot of the film's lyricism is extracurricular.
    • 69 Metascore
    • 100 Wesley Morris
    The worst thing about the first Quentin Tarantino picture in five years is that after 93 minutes of some of the most luscious violence and spellbinding storytelling you're likely to see this year, Kill Bill ends.
    • 70 Metascore
    • 100 Wesley Morris
    The atmosphere is hypo-stylized, vividly generic and worse than real, like a doomy Frederick Wiseman documentary.
    • 81 Metascore
    • 100 Wesley Morris
    This is the first beautiful performance in the year's first great movie.
    • 93 Metascore
    • 100 Wesley Morris
    Freshly viewed, the movie's melancholy seems to fit uncannily well in the moment we find ourselves now. In the film there are mentions of nuclear annihilation and worries that heedless lust and wanton partying could bring Rome a second fall.
    • 87 Metascore
    • 100 Wesley Morris
    A masterpiece.
    • 81 Metascore
    • 100 Wesley Morris
    This is a brilliantly structured hall of mirrors that wraps Catholicism and the movie industry into a tasty film noir.
    • 78 Metascore
    • 100 Wesley Morris
    Not about crashing into walls or crashing into other people. It's about crashing into yourself and living to tell the tale.
    • 79 Metascore
    • 100 Wesley Morris
    A marvelous, uncommonly observant, and unexpectedly rousing group portrait.
    • 71 Metascore
    • 100 Wesley Morris
    This is a movie from the past that's also eerily of a piece with the film culture of now and tomorrow.
    • 82 Metascore
    • 100 Wesley Morris
    Jane Austen's novel has been rejiggered into a jaunty romantic comedy that leaves us as incandescently happy as its characters.
    • 83 Metascore
    • 100 Wesley Morris
    Maurice Bénichou does the most heartbreaking work in the movie, playing a friend of Georges's. It's a character and a performance I'll have a tough time getting out of my dreams.
    • 85 Metascore
    • 100 Wesley Morris
    Enigmatic as it is, The Intruder dares us to see movies as visual marvels tethered to humanity.
    • 84 Metascore
    • 100 Wesley Morris
    The movie they've assembled is in the vein of 1973's "Wattstax," but it's much more than a concert documentary. It's a jubilant, civic-minded lollapalooza.
    • 84 Metascore
    • 100 Wesley Morris
    A watchful, winding-down tragedy of a movie that delivers what it promises. As commentary, it's grim. As filmmaking, it's a powerfully disturbing odyssey through the Bucharest health care system.
    • 48 Metascore
    • 100 Wesley Morris
    It's a thrill to watch Posey incorporate, at last, some true emotion into her exuberant screwball wit.
    • 72 Metascore
    • 100 Wesley Morris
    It's one of the great movies on the vicissitudes of love, commitment, and attraction.
    • 64 Metascore
    • 100 Wesley Morris
    Fast Food Nation has the dramatic flatness and willful lack of personality of some documentaries -- or at least how Linklater thinks a documentary should be. The movie nonetheless feels like both a work of investigative journalism and an immense human-interest story, veering into muckraking, horror, teen comedy, and what passes for "Twilight Zone" science fiction.
    • 84 Metascore
    • 100 Wesley Morris
    This is an extraordinary artistic breakthrough from a Mexican director who was already fearlessly good to begin with.
    • 98 Metascore
    • 100 Wesley Morris
    Pan's Labyrinth is a transcendent work of art.
    • 81 Metascore
    • 100 Wesley Morris
    As demonstrated in his previous film, a plangent snapshot of subsistence called "Waiting for Happiness," Sissako is a poet, and the filmmaking in this new picture is stuff of a deserving laureate.
    • 94 Metascore
    • 100 Wesley Morris
    A milestone of eloquent understatement that captures the daily life of have-nots as few American movies have.
    • 61 Metascore
    • 100 Wesley Morris
    Astonishing.
    • 74 Metascore
    • 100 Wesley Morris
    It's so hypnotically breathtaking, you don't realize you're not breathing. By the final shot, you don't realize you're crying either, but there go the tears.
    • 89 Metascore
    • 100 Wesley Morris
    Ferguson's film is a clear-sighted counterpoint to the former secretary of defense's impression. As the title suggests, it's a seemingly infinite mess.
    • 92 Metascore
    • 100 Wesley Morris
    There Will Be Blood" is anti-state of the art. It's the work of an analog filmmaker railing against an increasingly digitized world. In that sense, the movie is idiosyncratic, too: vintage visionary stuff.
    • 85 Metascore
    • 100 Wesley Morris
    With impeccable skill, Akin has made a film roiling with cruelty but guided by tough political optimism. No, we can't all get along, but some us of are trying.
    • 84 Metascore
    • 100 Wesley Morris
    This is the most significant feature about poor black life since Charles Burnett's 1977 "Killer of Sheep."
    • 84 Metascore
    • 100 Wesley Morris
    By nearly every measure, Milk is a beautifully made, far less conventional movie biography than most.
    • 92 Metascore
    • 100 Wesley Morris
    I was much more disheartened leaving the movie the first time I saw it than I was the second. Its richness resides in its apparent objectivity. Without sacrificing a sense of hope, Cantet suggests that the school system is just like a certain vexing grammatical tense: imperfect but still fighting against irrelevance.
    • 83 Metascore
    • 100 Wesley Morris
    Takes one man, his children, their spouses and babies, his ex-wife, his girlfriend, her daughter, and his friends and turns it all into a masterpiece about the strange power of food - to heal, unite, exasperate.
    • 87 Metascore
    • 100 Wesley Morris
    Both a staggering realist thriller and a jeremiad.
    • 86 Metascore
    • 100 Wesley Morris
    The movie is also more extraordinary than a mere scenic slideshow.
    • 79 Metascore
    • 100 Wesley Morris
    This movie catalogs a wealth of human ugliness. It’s even been made to look ugly, presumably to underscore the horror movie that is Precious’s life.
    • 82 Metascore
    • 100 Wesley Morris
    The ends remain loose in The White Ribbon.’ But that lack of closure is thrilling. Haneke lays his movie and its mysteries at our feet, leaving us to ask, “What in tarnation?’’
    • 81 Metascore
    • 100 Wesley Morris
    The usual emphasis in a detective film is upended so that procedure, thrillingly, is more important than action. In its own way, this is one of the most intense cop movies you'll see.
    • 85 Metascore
    • 100 Wesley Morris
    Setting aside, just for a moment, his general loathsomeness, there is a case to be made for a less apparent aspect of Benito Mussolini: He was once really hot.
    • 88 Metascore
    • 100 Wesley Morris
    The result is a masterpiece of investigative nonfiction moviemaking - a scathing, outrageous, depressing, comical, horrifying report on what and who brought on the crisis.
    • 89 Metascore
    • 100 Wesley Morris
    This is a movie whose power comes from the alignment both of Mija's discovery with ours and of a tremendous writer and director with his star.
    • 54 Metascore
    • 100 Wesley Morris
    In an age in which it feels as if seemingly pure intimacy no longer exists, this film thrives on nothing but intimate moments.
    • 86 Metascore
    • 100 Wesley Morris
    The immediacy and caprice of violence in The Interrupters are just as strong as in nearly every documentary I've seen about the wars in Iraq and Afghanistan.
    • 55 Metascore
    • 100 Wesley Morris
    3
    It's a funny, fearless, suspenseful sex comedy that, in drawing on science and philosophy and art and death, risks accusations of pretentiousness. But, even in its romantic idealism, the movie proceeds according to recognizable rhythms of how some people live.
    • 81 Metascore
    • 100 Wesley Morris
    One of the truest, most beautiful movies ever made about two strangers.
    • 95 Metascore
    • 100 Wesley Morris
    This is a trenchant emotional thriller that you watch in dread, awe, and amazing aggravation. It's entirely predicated upon the outcome of bad decisions - and it is not a comedy. The situation that unfolds approaches the absurdity of farce but denies the relief and release of humor. It's a tragic farce. No option or choice is to be envied.
    • 74 Metascore
    • 100 Wesley Morris
    The entire movie is pitched at a scream. But the screaming is more Janis Joplin, Axl Rose, or Mary J. Blige than Jamie Lee Curtis. All the tears I shed were hard-earned. So were all the laughing and clapping and eye-covering. In each case, it was involuntary.
    • 84 Metascore
    • 100 Wesley Morris
    Moonrise Kingdom is Anderson's seventh movie, and it's the first since "Rushmore" that works from the opening shot to the final image.
    • 86 Metascore
    • 100 Wesley Morris
    Nothing as big and strange and right as The Master should feel as effortless as it does. That's not the same as saying that it's light. It's actually heavy. It weighs more than any American film from this or last year. It's the sort of movie that young men aspiring to write the Great American Novel never actually write.
    • 86 Metascore
    • 100 Wesley Morris
    We're now far enough from that era that seeing it all again feels like a slap to the face in the same way that watching certain moments in the civil rights epic "Eyes on the Prize" chills your bones. This doesn't have that series' stately magnitude. It's smaller and crasser, but it's comparatively galvanic.
    • 90 Metascore
    • 88 Wesley Morris
    Mike Leigh's great big, superbly performed homage to the creative process.
    • 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
    • 81 Metascore
    • 88 Wesley Morris
    It's the boys' most immediately gratifying movie: The goods are delivered in a hearse.
    • San Francisco Examiner
    • 60 Metascore
    • 88 Wesley Morris
    Funny and untouched by cynical, ironic bids to be taken seriously.
    • 93 Metascore
    • 88 Wesley Morris
    If there's a granddaddy of breezy situationalism, it's probably Buñuel.
    • 59 Metascore
    • 88 Wesley Morris
    A monumentally graceful union of two extremely dissimilar stars, one inspired cinematographer and an exceptionally patient, curious, independent-minded director.
    • San Francisco Examiner
    • 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
    • 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.
    • 61 Metascore
    • 88 Wesley Morris
    No-fat filmmaking aided by Berri's muscular formalism that, here, occasionally assumes the gritty focus of a taut, action thriller.
    • 78 Metascore
    • 88 Wesley Morris
    Segues from the merely quirky into the bizarrely unthinkable.
    • 77 Metascore
    • 88 Wesley Morris
    Staggering, gorgeously ambiguous.
    • 66 Metascore
    • 88 Wesley Morris
    The least opaque of Antonioni's films, unburdened by stylishness and his imagistic inflammations.
    • San Francisco Examiner
    • 73 Metascore
    • 88 Wesley Morris
    The first more-than-halfway-decent movie of a new millennium.
    • 72 Metascore
    • 88 Wesley Morris
    Go
    A triptych whirling on a Lazy Susan of revolving character perspectives.
    • 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.
    • 82 Metascore
    • 88 Wesley Morris
    The amazing thing about the film, for anyone who hasn't had an intentional Hollywood scare lately, is that it still delivers on the most visceral level
    • San Francisco Examiner
    • 86 Metascore
    • 88 Wesley Morris
    Boys Don't Cry's intensity sneaks up on you like a snake.
    • 65 Metascore
    • 88 Wesley Morris
    Madhouse satire manages to disarm the second you realize it's laughing with you - and sometimes harder.
    • San Francisco Examiner
    • 88 Metascore
    • 88 Wesley Morris
    Imbued with infectious pluck. It's also a lucid, competent, titanically entertaining movie loaded with workable gags.
    • 90 Metascore
    • 88 Wesley Morris
    More often than not the film casts an infectious, evocative spell.
    • San Francisco Examiner
    • 84 Metascore
    • 88 Wesley Morris
    Hysterical-depressing, vividly sobering.
    • 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.
    • 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.
    • 77 Metascore
    • 88 Wesley Morris
    A knock-down, haywire ballad of the adrenalinization of love and despair.
    • 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.
    • 79 Metascore
    • 88 Wesley Morris
    Like laughing into a mirror for 113 minutes.

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