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
    • 98 Metascore
    • 100 Wesley Morris
    Pan's Labyrinth is a transcendent work of art.
    • 96 Metascore
    • 88 Wesley Morris
    All the voice work here is excellent, especially Oswalt's. He sounds like Paul Giamatti but with a greater capacity for confidence.
    • 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.
    • 94 Metascore
    • 75 Wesley Morris
    Delivers chunks of ''Yellow Submarine'' and ''The Phantom Tollbooth'' -- a vividly timeless oddity suitable for many children and most stoners.
    • 94 Metascore
    • 100 Wesley Morris
    A milestone of eloquent understatement that captures the daily life of have-nots as few American movies have.
    • 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.
    • 93 Metascore
    • 88 Wesley Morris
    If there's a granddaddy of breezy situationalism, it's probably Buñuel.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 92 Metascore
    • 75 Wesley Morris
    The film's look makes a divine accessory for its music, which Miles Davis composed. There's not even 20 minutes of it in the film, yet it still defines the atmosphere, transforming a crime yarn into a bebop noir.
    • tbd Metascore
    • 75 Wesley Morris
    This is the first, smallest, and most essential planet in the Van Sant solar system. The seediness of "Drugstore Cowboy " started here. So did the one-way crushes in "My Own Private Idaho " and the gorgeously epic longueurs of "Last Days. "
    • 91 Metascore
    • 100 Wesley Morris
    Elegant.
    • 90 Metascore
    • 88 Wesley Morris
    It’s imperfect, but it’s daring, bold, and from a director who isn’t scared of anything.
    • 90 Metascore
    • 88 Wesley Morris
    The film is conducted in a delirious cinema-verite style; most of what you see has a brutal, you-are-there immediacy. You're not merely watching history, you're engulfed by it.
    • 90 Metascore
    • 88 Wesley Morris
    Mike Leigh's great big, superbly performed homage to the creative process.
    • 90 Metascore
    • 100 Wesley Morris
    It's the film we leave most movie theaters wishing we'd seen instead.
    • 90 Metascore
    • 88 Wesley Morris
    More often than not the film casts an infectious, evocative spell.
    • San Francisco Examiner
    • 90 Metascore
    • 88 Wesley Morris
    Eyes Without a Face, outre as it is, never tires as hypnotic, touching, ghastly fun.
    • 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.
    • 89 Metascore
    • 88 Wesley Morris
    It sounds like the old unstoppable-force-meets-immovable-object trick. Ramin Bahrani's Goodbye Solo has the trappings of such a story, but, mercifully, none of the follow-through.
    • 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]
    • 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.
    • 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.
    • 88 Metascore
    • 88 Wesley Morris
    Mafioso is the missing link in the mob movie arc.
    • 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.
    • 88 Metascore
    • 88 Wesley Morris
    Imbued with infectious pluck. It's also a lucid, competent, titanically entertaining movie loaded with workable gags.
    • 88 Metascore
    • 75 Wesley Morris
    Aspires to the boundlessness of a kid's imagination.
    • 87 Metascore
    • 88 Wesley Morris
    The arrival of closing credits feels like a trap door. The film is over, and, suddenly, we have to leave these people. The directors make no guarantee for their futures, but the strength of their filmmaking inspires you to hope for the best.
    • 87 Metascore
    • 88 Wesley Morris
    This is a modest marvel of grace and framing that unfolds with the patience of a cloud and is driven more by wonder than pure emotion. It doesn't have the exuberance of Francois Truffaut 's "Small Change." Instead, it's that movie's antonym, yet just as wondrous.
    • 87 Metascore
    • 100 Wesley Morris
    Both a staggering realist thriller and a jeremiad.
    • 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.
    • 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.
    • 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.
    • 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
    • 100 Wesley Morris
    A masterpiece.
    • 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.
    • 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
    A momentously, shockingly moving fit of shape-shifting by a filmmaker grown tired of the macabre.
    • 86 Metascore
    • 88 Wesley Morris
    Boys Don't Cry's intensity sneaks up on you like a snake.
    • 86 Metascore
    • 75 Wesley Morris
    Cinema's greatest caveman meets his ancestors. For us, it's a reassurance: The creative process is astonishingly old and its fruits still surprisingly fresh.
    • 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.
    • 86 Metascore
    • 100 Wesley Morris
    Ten
    The new Abbas Kiarostami film is called Ten, and in it something amazing happens: nothing.
    • 86 Metascore
    • 75 Wesley Morris
    What Hoss is asked to play - and does play with great skill - is the fine line between self-protection and hauteur.
    • 86 Metascore
    • 100 Wesley Morris
    The movie is also more extraordinary than a mere scenic slideshow.
    • 86 Metascore
    • 75 Wesley Morris
    Argo is absurdly suspenseful for both of its hours. I've never been this stressed-out watching people shred documents.
    • 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
    • 75 Wesley Morris
    A movie loaded with strange delights.
    • 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.
    • 86 Metascore
    • 63 Wesley Morris
    A satire whose dead aim stops wounding - and starts making - stereotypes of white middle-classness.
    • 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.
    • 85 Metascore
    • 88 Wesley Morris
    Here the Japanese senses of honor and of shame are particularly entangled. Later in the film, Lu mounts an Imperial Army parade through the Nanking ruins. It's something to see.
    • 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.
    • 85 Metascore
    • 75 Wesley Morris
    Debbie gets away with being such a cauldron of extremes because the airy-voiced Mann is extremely good at playing them. She happens to be Apatow's wife (the kids in the movie are theirs), and with the possible exception of Téa Leoni , it's hard to imagine who else could get away with this combination of needling and affection.
    • 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.
    • 85 Metascore
    • 100 Wesley Morris
    Enigmatic as it is, The Intruder dares us to see movies as visual marvels tethered to humanity.
    • 85 Metascore
    • 88 Wesley Morris
    This emperor verges on dementia, having no apparent clue how to function.
    • 85 Metascore
    • 88 Wesley Morris
    Alexandra is a pleasure to watch, but it's also one of those lovely, unclassifiable movies that flourishes better with repeated or prolonged exposures.
    • 85 Metascore
    • 75 Wesley Morris
    The movie puts us so close to so much yet keeps its emotional distance -- as if to say, no matter how much we see, we'll never truly know.
    • 85 Metascore
    • 63 Wesley Morris
    The movie is church via the planetarium. It's as if Malick set out to paint the Sistine Chapel and settled for a dome at the Museum of Natural History.
    • 85 Metascore
    • 75 Wesley Morris
    It's a startling, speedy, gracefully executed indictment.
    • 85 Metascore
    • 88 Wesley Morris
    Soberly, deeply effective.
    • San Francisco Examiner
    • 85 Metascore
    • 75 Wesley Morris
    In 80 minutes, the film accumulates a staggering gravity.
    • San Francisco Examiner
    • 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.
    • 84 Metascore
    • 75 Wesley Morris
    The film has sprung from the mind of the Frenchman Leos Carax and ought to be seen to be believed, on the largest screen you can find, and probably sober, too, since it becomes its own narcotic.
    • 84 Metascore
    • 100 Wesley Morris
    This is an extraordinary artistic breakthrough from a Mexican director who was already fearlessly good to begin with.
    • 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.
    • 84 Metascore
    • 88 Wesley Morris
    Hysterical-depressing, vividly sobering.
    • 84 Metascore
    • 75 Wesley Morris
    It's a quiet little gag homage both to Boris Karloff and to the set up of shelf-loads of pulp novels and films noir. And Peltola, with his flat, serious face and damp, oil-black hair, happens to look, at times, like Richard Widmark and Kirk Douglas.
    • 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.
    • 84 Metascore
    • 100 Wesley Morris
    By nearly every measure, Milk is a beautifully made, far less conventional movie biography than most.
    • 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.
    • 84 Metascore
    • 75 Wesley Morris
    Not only does the movie look like it's set somewhere, it feels, cinematically, to have arrived from someplace - early John Cassavetes, the French New Wave, Eastern Europe.
    • 84 Metascore
    • 75 Wesley Morris
    The movie unfolds like something out of E.M. Forster, but Assayas isn't all that interested in family dynamics. Instead, he's made a chronicle of how the children will handle the sale of the house and its treasures.
    • 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.
    • 84 Metascore
    • 75 Wesley Morris
    Medea works on von Trier's own imagistic terms. There are shots and sequences in this movie that feel unique.
    • 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.
    • 84 Metascore
    • 88 Wesley Morris
    Kurt and Mark's trip to those hot springs is a figurative return to Eden. Anyone who's had a disillusioning reunion with a moony old friend knows what Mark discovers: They're too old to stay that innocent. None of this hit me until after the movie ended. But it hit me hard: You can't go home again.
    • 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
    • 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.
    • 84 Metascore
    • 75 Wesley Morris
    A meticulously assembled dramatization of a grossly controversial moment in TV history.
    • 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
    • 75 Wesley Morris
    These people may be really, really dangerous, but they're also really, really polite.
    • 84 Metascore
    • 75 Wesley Morris
    The Oceanic Preservation Society doesn't change the world so much as call attention to something so very wrong with it. And in doing so, The Cove culminates with an image of political agitation that might be one of the most oddly effective public service announcements you'll see.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 83 Metascore
    • 75 Wesley Morris
    Engrossing, smartly made documentary.
    • 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.
    • 83 Metascore
    • 88 Wesley Morris
    Everything about Chop Shop is modest - the movie's scale, the characters' ambitions. Another director might have tried to nudge the film's grim detours toward tragedy. And that might have worked, too. But Bahrani is a refreshingly deceptive director in that sense.
    • 83 Metascore
    • 88 Wesley Morris
    Burton, who directed the film with animator Mike Johnson, has rarely been in brisker, friskier form.
    • 83 Metascore
    • 75 Wesley Morris
    Raimi seems more comfortable being his outlandishly jokey, B-movie self, letting entire sequences play on the line between carefree schlock and Hollywood blockbusting.
    • 83 Metascore
    • 75 Wesley Morris
    Slight but fascinating.
    • 83 Metascore
    • 88 Wesley Morris
    A portrait of two different men whose compulsion for Donkey Kong is hilarious.
    • 83 Metascore
    • 75 Wesley Morris
    Working with his brother Ivan, Sam Raimi is laughing with us - and often louder than we are.
    • 83 Metascore
    • 75 Wesley Morris
    At its best, Up in the Air invents new realms for old Hollywood sophistication.

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