Wesley Morris

Select another critic »
For 1,827 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 1.9 points lower than other critics. (0-100 point scale)

Wesley Morris' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 The Class
Lowest review score: 0 Lost Souls
Score distribution:
1827 movie reviews
    • 81 Metascore
    • 50 Wesley Morris
    All the movie's good style goes to waste on a not terribly compelling conceit and loosely sketched characters.
    • 81 Metascore
    • 50 Wesley Morris
    These are truly tedious stakes for an action movie. The franchise isn't worried about world safety. It's fretting over whether to start wearing Depends.
    • 79 Metascore
    • 50 Wesley Morris
    Full of action, but no soul.
    • 78 Metascore
    • 50 Wesley Morris
    Watching the uncertain and disappointing new apartheid documentary Amandla! A Revolution in Four-Part Harmony'' is like going to the lecture of an impassioned but really disorganized professor.
    • 76 Metascore
    • 50 Wesley Morris
    Harmless enough, but "indie comedy" sounds like something better seen at Urban Outfitters than at a movie theater.
    • 76 Metascore
    • 50 Wesley Morris
    It's taken Dreamgirls 25 years and several false starts to get to the screen, so it's a shame to see what a rush job it feels like.
    • 76 Metascore
    • 50 Wesley Morris
    It's scant to the point of irrelevance.
    • 76 Metascore
    • 50 Wesley Morris
    As films about the young and the horny go, I preferred the smarter approach director Jeffrey Blitz takes in "Rocket Science."
    • 74 Metascore
    • 50 Wesley Morris
    The characters are intended to be slightly stupid, but the writing isn’t necessarily smarter.
    • 74 Metascore
    • 50 Wesley Morris
    You want the movie to stir your soul, push your intellect, or at the very least, break your heart. But it's such a repetitive and thinly constructed piece of filmmaking that the scope and complexity of Sampedro's case are turned to porridge.
    • 74 Metascore
    • 50 Wesley Morris
    The Others is great as a collection of acknowledgments, but a ghost story made of a bunch of ghoulish thank-yous isn't that haunting.
    • 74 Metascore
    • 50 Wesley Morris
    The Last King of Scotland joins the ranks of nightmarish innocents-abroad movies, from "Midnight Express" to "Hostel," where the disillusioned hero fights to return to civility.
    • 74 Metascore
    • 50 Wesley Morris
    What remains is Washington's volcanic and contemplative work at the core of a film packed to the rafters with raging bull.
    • 73 Metascore
    • 50 Wesley Morris
    As ponderous and overwrought as a film hogged by a couple of young hipsters named Roméo and Juliette can be.
    • 73 Metascore
    • 50 Wesley Morris
    A lot of the problem is that the picture's protagonist is both naive and foul.
    • 72 Metascore
    • 50 Wesley Morris
    Unfortunately, there's never a moment where you can't see Anderson and his co-writer, Will Conroy, yanking on the strings.
    • 72 Metascore
    • 50 Wesley Morris
    There's a misery in Fassbender that's spellbinding. I rolled my eyes for most of Shame. But never at him. That face tells the story of addiction: the joylessness of sex.
    • 72 Metascore
    • 50 Wesley Morris
    If there's nothing here for romantics, there's even less for gourmands. Nettelbeck fails to produce a good food metaphor, let alone an impressive, palate-aching preparation montage
    • 71 Metascore
    • 50 Wesley Morris
    Looks and feels like someone else's better-made schlock.
    • 71 Metascore
    • 50 Wesley Morris
    Written in wisps and watery double-entendres by Heather McGowan and Niels Mueller, and the movie is so benign that its proceedings are beside the point.
    • 71 Metascore
    • 50 Wesley Morris
    Moreover, what the film lacks in temporal credibility, it amply makes up for in sheer rawness -- the rawness being literal.
    • 71 Metascore
    • 50 Wesley Morris
    Birbiglia, who's from Shrewsbury, has done some wonderful things with awkwardness. I'm sad to report that Sleepwalk With Me isn't one of them.
    • 71 Metascore
    • 50 Wesley Morris
    Fellowes is so desperate for us to like these people that, despite how guilty everyone seems, there's scarcely any pleasure in the film for us.
    • 71 Metascore
    • 50 Wesley Morris
    Sadly, this is the sort of movie in which the white Europeans do all the talking and worrying with each other. The Africans, for the most part, are either terrified, cowering, wincing masses or corpses strewn in the dirt.
    • 70 Metascore
    • 50 Wesley Morris
    An earnest, alarmist new docu-plea for nuclear disarmament, concludes with an orgy of such destruction. Mushroom clouds. Infernal white light. Obliterating energy blasts. It's all here, and mostly beyond the pale.
    • 70 Metascore
    • 50 Wesley Morris
    The movie's afraid of [Stiles], turning Kat from riot grrrrl to Solid Gold dancer in the time it takes to drop one Notorious B.I.G. song at that house party - which is why it's the Spam of processed teen movies.
    • 70 Metascore
    • 50 Wesley Morris
    While Prisoners of Paradise gives us but an impression of Gerron's state of mind, the film does a powerful job of showing us how deflated, small, and desperate this boisterous man had become.
    • 70 Metascore
    • 50 Wesley Morris
    It's a heart-warmer, a well-meaning movie that sets out to wring a modern message (and preferably some tears) from a famous but largely forgotten moment in history.
    • 70 Metascore
    • 50 Wesley Morris
    Long on mood and moodiness, but at a loss as how to break any interesting human ground.
    • 69 Metascore
    • 50 Wesley Morris
    Joshua is the sort of movie in which nobody does what you would do: like spank or demand an extra-strength time out.
    • 69 Metascore
    • 50 Wesley Morris
    Is, in its way, an apolitical comedy about politics. Or at least a naïve one, since those weapons likely eventually made their way into the hands of Al Qaeda.
    • 69 Metascore
    • 50 Wesley Morris
    The movie doesn't hang together as a thriller, and the characters don't hang together as interesting people.
    • 68 Metascore
    • 50 Wesley Morris
    Roskam appears more interested in trying to combine genres that don't easily cohere. On one hand, the film's a crime-thriller and police procedural. On the other, it's about the lingering trauma of Jacky's personal misfortune. The other hand is much stronger.
    • 68 Metascore
    • 50 Wesley Morris
    Hopped up on standard action riffs, most of the film feels like hand-me-downs purchased from the John Woo outlet.
    • 68 Metascore
    • 50 Wesley Morris
    This movie wants to cover every base without thinking very deeply about them. So while a lot of ground is covered in 80 brisk minutes, the information presented is only abstractly useful.
    • 68 Metascore
    • 50 Wesley Morris
    Some will find it chicly inspired, recalling blaxploitation's heyday with its grimy urban realism. Some will rightly find it corny, absurd, and an insultingly limited presentation of options for the most disenfranchised African-Americans: I'm still waiting for the movie fantasy about the pimp who wants to get his GED.
    • 68 Metascore
    • 50 Wesley Morris
    What the writer and director, Lance Daly, means as some kind of transporting urban adventure for them is a disenchanting slog for us.
    • 68 Metascore
    • 50 Wesley Morris
    You needn’t actually see Fracture to know that if the charge is acting that winks, these two are guilty.
    • 68 Metascore
    • 50 Wesley Morris
    Implausibly dainty.
    • 67 Metascore
    • 50 Wesley Morris
    I left as frustrated as that band teacher is at the beginning of the movie. Enough with these meek, banal exercises, David Gordon Green. Hit me with the sledgehammer in your heart.
    • 67 Metascore
    • 50 Wesley Morris
    Leans so heavily on its stars that their performances are marred by their emptiness.
    • 67 Metascore
    • 50 Wesley Morris
    The whole thing ends with an urgent plea to visit the movie's site, which is partially devoted to The Issues, which involve such topics as "overmedication," "overtreatment," and "reimbursement."
    • 67 Metascore
    • 50 Wesley Morris
    Cairo Time is a kind of bourgeois delusion. It's authentically aggravated but bogusly conceived.
    • 67 Metascore
    • 50 Wesley Morris
    I can't say why Coppola wanted to spend time with this man. It's like following someone on Twitter who fails to generate many compelling tweets.
    • 67 Metascore
    • 50 Wesley Morris
    But that ending is a whopper all the same: a heartless blast of tragedy, exploitation, amusement, and general flagrance.
    • 66 Metascore
    • 50 Wesley Morris
    You get the sense that the cheap thrill of cheating is like putting a Band-Aid on a broken bone. The movie feels just as inadequate emotionally and psychologically. There's a lot of outward behavior but no inner life.
    • 65 Metascore
    • 50 Wesley Morris
    Buried works better as an evocation of "Twilight Zone'' eeriness. Even then, it's silly and gimmicky.
    • 65 Metascore
    • 50 Wesley Morris
    The score is the most effective thing about the film. Sometimes it's a suspicious, mischie-vous distraction from the reality that not enough of this makes sense.
    • 65 Metascore
    • 50 Wesley Morris
    For all the blathering, heavy-handed pathos, we might as well be watching the Lifetime cable channel.
    • 65 Metascore
    • 50 Wesley Morris
    Lacks the creepy immediacy of even the most misbegotten of the found-footage genre.
    • 65 Metascore
    • 50 Wesley Morris
    Jolie doesn't seem entirely bored with the routine. She has a laugh or two at her bionic image: Evelyn is a woman who uses a maxi pad as a bandage.
    • 65 Metascore
    • 50 Wesley Morris
    Plays like a lost Rockford file.
    • 65 Metascore
    • 50 Wesley Morris
    The best I can say about his (Diesel)performance is that it's charmingly terrible.
    • 64 Metascore
    • 50 Wesley Morris
    This movie just seems like a scattered excuse to make political points without saying much of anything. Worse, it also fails to show us, with any vividness, how Mirit and Smadar think and feel as women.
    • 64 Metascore
    • 50 Wesley Morris
    Not entirely persuasive, not entirely schmaltzy, "The Tic Code" is one of those well-meant dramatizations... that mysteriously made it all the way to a theater near you.
    • 64 Metascore
    • 50 Wesley Morris
    Canner is either overwhelmed by so much impressive access to so many alarming business opportunities or lacking the investigative rigor to drive home the moral problems of these drugs and the existential problems of these women.
    • 64 Metascore
    • 50 Wesley Morris
    It's an exasperating exercise in B-movie hokum and screenwriter's gimmickry.
    • 64 Metascore
    • 50 Wesley Morris
    The film plays fast and loose with the book, until its emotional depths, spiritual conflicts, and Waugh's discreet humor have been wrung out.
    • 64 Metascore
    • 50 Wesley Morris
    It's an unfocused overview that intersperses choppy interviews and observations with clips from "Deep Throat," including some of its most notorious and explicit scenes.
    • 64 Metascore
    • 50 Wesley Morris
    Well-meaning but trying documentary.
    • 64 Metascore
    • 50 Wesley Morris
    It's cheap the way The Grey wants to be both a Liam Neeson "Quit Taking My Stuff'' movie and an existential thriller about survival.
    • 63 Metascore
    • 50 Wesley Morris
    As much as the director andco-writer, Paolo Virzi, might try, he can't bring any of these people into focus. The movie is shapeless, too.
    • 63 Metascore
    • 50 Wesley Morris
    Despite the Gallic source material, what we truly have in Unfaithful is a tasteful, adult-contemporary ''Fatal Attraction'' redux, right down to the mister's Soho address and the happy family tucked away in the New York hinterlands.
    • 63 Metascore
    • 50 Wesley Morris
    The Patriot makes the Revolutionary War look like super-produced studio footage of the L.A. riots.
    • 63 Metascore
    • 50 Wesley Morris
    This is a ridiculous movie - a thriller so indifferent to suspense, so above mystery that one character literally stabs another in the front.
    • 63 Metascore
    • 50 Wesley Morris
    As Changeling strains toward its mawkishly optimistic conclusion, the old-fashioned moviemaking that Eastwood settled into doesn't suit either him or his star. It feels like a corny joke.
    • 63 Metascore
    • 50 Wesley Morris
    A feat of droll, refractive, melodramatic self-portraiture.
    • 63 Metascore
    • 50 Wesley Morris
    It's polished-looking, yet dull.
    • 63 Metascore
    • 50 Wesley Morris
    It's an exercise in 1970s mood. But all the film does is conjure, channel, and allude, until there's really no movie of Green's own for an audience to grab onto.
    • 63 Metascore
    • 50 Wesley Morris
    This is an old man's movie, without an old man's experience. Despite McGinly's stated affection for Kreskin (the movie ends with a written appreciation of him), there's nothing personal about it. It's the movie equivalent of handing us a business card.
    • 63 Metascore
    • 50 Wesley Morris
    Eden is "Once" after two kids and 10 years of marriage have sucked the music out of life.
    • 63 Metascore
    • 50 Wesley Morris
    The movie has a dramatic thinness, breezy tone, and unconvincing happy-ish ending that make it feel more inconsequential than anything about killers and imperiled children probably should.
    • 63 Metascore
    • 50 Wesley Morris
    It's the men in ''Upside" who speak all the truth.
    • 63 Metascore
    • 50 Wesley Morris
    If it's difficult to find straight laughs in a colorblind prison movie (It's difficult enough to find a colorblind prison movie), finding straight laughs in a black one is almost impossible.
    • 63 Metascore
    • 50 Wesley Morris
    Generates very little heat.
    • San Francisco Examiner
    • 62 Metascore
    • 50 Wesley Morris
    Hollywoodland has scraps of old movie glamour. It also has shades of later movies that sullied all that class and refinement with a lurid touch, namely Roman Polanski's "Chinatown." But that's all Hollywoodland is: scraps and shade.
    • 62 Metascore
    • 50 Wesley Morris
    "Rear Window" never comes up in the Disturbia press notes, which is probably just as well since it steals that movie's premise but none of Alfred Hitchcock's wit, finesse, or seduction.
    • 62 Metascore
    • 50 Wesley Morris
    Determined to be inoffensively tidy and cute above all else.
    • 62 Metascore
    • 50 Wesley Morris
    The movie has a jolly, half-remembered quality, as though it were adapted from a particularly rose-colored memoir.
    • 62 Metascore
    • 50 Wesley Morris
    Janet McTeer provides a little ham to the role of a woman who dresses up her dogs because she misses her dead twin sons. But there's not nearly enough of her. Nor is there enough legitimate suspense.
    • 62 Metascore
    • 50 Wesley Morris
    A righteous but wrongheaded thriller, chokes on its well-meant outrage and leaves a moth-eaten plot and handful of nonsense characters on its way to a dopey finish.
    • 61 Metascore
    • 50 Wesley Morris
    The film is overripe with erotic symbols.
    • 61 Metascore
    • 50 Wesley Morris
    Gordon made similar lurches all over the map in his previous exercise in grotesquerie, "Edmond," which was based on a David Mamet play and starred William H. Macy as, of all things, a racist misogynist on a grisly bender. Stuck could have used some of that outrageousness.
    • 61 Metascore
    • 50 Wesley Morris
    Only occasionally do the thrill of the game and the passion of its players come together. That said, these guys' nakedly neurotic enthusiasm keeps the movie from being a total jumble.
    • 61 Metascore
    • 50 Wesley Morris
    An inconsequential high-school-reunion comedy that gets better when it stops trying to make you laugh.
    • 61 Metascore
    • 50 Wesley Morris
    A shameless "Shawshank" redux.
    • 61 Metascore
    • 50 Wesley Morris
    Dave is one of the most ineffectual characters ever to have an entire movie built around him.
    • 61 Metascore
    • 50 Wesley Morris
    All we have here are bits, so many, in fact, that Extract’ feels more like a collection of crumbs.
    • 61 Metascore
    • 50 Wesley Morris
    It's a lot like a pumpkin spice frappuccino with extra sugar and extra cream. You'll laugh. You'll cry. You'll leave with foam on your nose. So cute. As a friend said on the way out: At least no books were harmed in the making of this movie. And he's right. But that's only because no one really tried.
    • 61 Metascore
    • 50 Wesley Morris
    As innocuous as the love songs on its soundtrack.
    • 60 Metascore
    • 50 Wesley Morris
    This native send-off is robotic enough to leave you eager to see what an artist might do with a reboot.
    • 60 Metascore
    • 50 Wesley Morris
    Technique is all you have to admire. There's nothing underneath the formal exercise. The film's coyness about what's happening is cheap.
    • 60 Metascore
    • 50 Wesley Morris
    The movie is so chilly and fundamentally empty at its core that we're more or less on the outside looking in.
    • 60 Metascore
    • 50 Wesley Morris
    Whether this movie works for you largely depends on whether you're willing to work for it. To which I say: Bring your gym clothes.
    • 60 Metascore
    • 50 Wesley Morris
    There's too much narration and too many drug-movie cliches.
    • 60 Metascore
    • 50 Wesley Morris
    The movie attempts to both explain everything away and pat itself (and Norway) on the back once we see Noa watching President Obama deliver his Nobel Prize speech.
    • 60 Metascore
    • 50 Wesley Morris
    The most provocative thing about The Beaver is the adult-movie title. The film itself is alternately fascinating and dull, though mostly the latter.
    • 59 Metascore
    • 50 Wesley Morris
    If only Miller's writing had some human zest. Nearly everybody here is crunchy, salt-of-the-earth organic, and off in a dreamland.
    • 59 Metascore
    • 50 Wesley Morris
    This is a movie about excess. It's excessively long (at least it feels that way), the slo-mo is used in excess (so are the swords), and our heroine, Yuki (Yumiko Shaku), when she does emote, is excessively weepy for a coldblooded assassin.
    • 59 Metascore
    • 50 Wesley Morris
    Actually, everything in Bowdon’s rant about America’s woeful public school system is important, including Bowdon.

Top Trailers