Wesley Morris

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For 1,826 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 2 points lower than other critics. (0-100 point scale)

Wesley Morris' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 The Straight Story
Lowest review score: 0 Men Cry Bullets
Score distribution:
1826 movie reviews
    • 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.
    • 58 Metascore
    • 50 Wesley Morris
    In James Marsh's The King, the usually wonderful Gael Garcia Bernal is all wrong for the role of Elvis Valderez.
    • 58 Metascore
    • 50 Wesley Morris
    After a sensuous introductory act, The Reader descends into a series of dismaying contradictions regarding the moral toxins of the Holocaust - which still pollute postwar Germany.
    • 49 Metascore
    • 50 Wesley Morris
    Perry shelves his crowd-pleasing Madea character and aspires for the impossible mix of 1950s social melodrama, gospel-inflected public service announcement, soap opera, R&B video, girl-centric sitcom on the CW, and any episode of "Good Times," featuring Janet Jackson's oft-affronted Penny. Were Perry a visual director or a logical, patient screenwriter, that hybrid would count as a feat of singular ambition. Instead, it seems like the product of an abbreviated attention span.
    • 68 Metascore
    • 50 Wesley Morris
    Implausibly dainty.
    • 34 Metascore
    • 50 Wesley Morris
    The movie's not bad enough to be world-ending, merely clumsy.
    • 33 Metascore
    • 50 Wesley Morris
    The appeal of Bedtime Stories belongs entirely to Sandler. As a comedian, he doesn't have to stoop to a kid's level. He's usually already there.
    • 34 Metascore
    • 50 Wesley Morris
    The problem with the new movie is the same as with the previous one. Vardalos has this idea that she's a marm. And while it's true that she personifies her movies, I don't quite buy her librarian mode.
    • 29 Metascore
    • 50 Wesley Morris
    A pure Frankenstein flick -- ugly, profane, terror-inducing, clumsy, nasty, desperate, stupid, contemptible, horny and brought to life by schlocky, shoddy science and an electric wish to prove that its makers still matter.
    • 41 Metascore
    • 50 Wesley Morris
    The movie is as inconsequentially pleasant as its star, and far nicer than the title lets on, too.
    • 46 Metascore
    • 50 Wesley Morris
    A flavorless family-friendly action-adventure that doubles as memory exploitation. It has nothing to do with either the Mickey Mouse broom sequence of the same name from 1940's "Fantasia'' or the 213-year-old Goethe poem that inspired it.
    • 57 Metascore
    • 50 Wesley Morris
    The World Is Not Enough, like a 19th version of anything, is inanely self-parodic. So much so that one wonders why Austin Powers need have bothered in the first place.
    • 46 Metascore
    • 50 Wesley Morris
    Blame the unsexy subject matter if you want, but blame the uninspired casting first.
    • 55 Metascore
    • 50 Wesley Morris
    Not horrifying enough.
    • 52 Metascore
    • 50 Wesley Morris
    300
    There's a stale, synthetic airlessness about the movie. Imagine a large cast trapped in a series of spectacular screensavers. It could be ancient Greece. It could be somebody's hard drive.
    • 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.
    • 58 Metascore
    • 50 Wesley Morris
    This is a corny tale, told with both generous helpings of deli-sliced cheese and a brief stretch of chilling tumultuousness.
    • 46 Metascore
    • 50 Wesley Morris
    The movie's banal fantasies badly chafe any anthropological consideration of what a girl should do with her career. This isn't life. It's Lifetime.
    • 52 Metascore
    • 50 Wesley Morris
    I'm not getting the most of his (Washington) charisma or enough of that million-dollar dental work. I'm not getting the joy, and I miss that.
    • 58 Metascore
    • 50 Wesley Morris
    You're left with an inert, politically neutral movie, a satire that can't bring itself to properly satirize anything.
    • 55 Metascore
    • 50 Wesley Morris
    It feels like a trumped up trifle, disinterested in narrative exercises, using instead technique (cinematography, editing and, omigod, a soundtrack!) to swing moods and heighten reality, then send it crashing to earth.
    • 51 Metascore
    • 50 Wesley Morris
    More vulgar than funny.
    • 46 Metascore
    • 50 Wesley Morris
    The biggest problem with this movie - not that it's mediocre, dull, or barely written (though it's guilty on all counts). It's that Carrey himself is miscast.
    • 46 Metascore
    • 50 Wesley Morris
    The real problem with this movie isn't its trashy side - the "Death Wish" stuff is actually suspenseful. It's the creepy note of causal judgment that hangs over it.
    • 49 Metascore
    • 50 Wesley Morris
    The movie has none of the embarrassing absurdity and cheap effects that made last year's trip back to the 14th century, "Timeline,'' such a joke. We should be so lucky. Instead, we get a listless avenger drama.
    • 53 Metascore
    • 50 Wesley Morris
    This movie has no teeth. It does not want to say anything, other than the unprintable word for penis, over and over.
    • 49 Metascore
    • 50 Wesley Morris
    The movie is full of risible pontifications about the nature of art but falls well short of capturing the angst of creative frustration.
    • 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.
    • 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.
    • 45 Metascore
    • 50 Wesley Morris
    This is the kind of movie that mistakes heartbreak for being housebroken.
    • 47 Metascore
    • 50 Wesley Morris
    Once it’s clear the movie won’t be deviating at all from its formula, Frank’s journey gets tedious.
    • 56 Metascore
    • 50 Wesley Morris
    The film has a habit of cutting away from interviews for Maher's commentary during the drive to the next location. You can see him trying to work the car for a laugh.
    • 51 Metascore
    • 50 Wesley Morris
    A rather pat, occasionally desperate road comedy.
    • 36 Metascore
    • 50 Wesley Morris
    Directed by F. Gary Gray and written by Christian Gudegast and Paul T. Scheuring, the movie isn't even worthy of former NFL linebacker turned straight-to-video action figure Brian Bosworth.
    • 34 Metascore
    • 50 Wesley Morris
    Dreary-looking and painfully slow, but it's not terrible.
    • 36 Metascore
    • 50 Wesley Morris
    Their movie is watchable - never more gratuitously so than when Alba is filmed showering and slipping into a tank top. But we've been here before, no?
    • 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.
    • 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.
    • 52 Metascore
    • 50 Wesley Morris
    As the movie is in step with Connelly's aching heroine and not trying to scare our socks off, Dark Water is of a piece with Salles's sensitive filmmaking. Obviously, from a genre standpoint, that presents a tremendous problem. Nobody goes to a horror movie for a good cry.
    • 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.
    • 52 Metascore
    • 50 Wesley Morris
    Even if the story is hackneyed, it's hackneyed in a warm and universal way.
    • 50 Metascore
    • 50 Wesley Morris
    It's as if a version of Oliver Stone's movie has been frozen in some fraternity house beer cooler since 1987 and thawed for the age of plasma screen TVs.
    • 53 Metascore
    • 50 Wesley Morris
    This is a flavorless adaptation of Richard and Florence Atwater's 73-year-old children's book.
    • 42 Metascore
    • 50 Wesley Morris
    He concocts a climactic war that flattens downtown Chicago. Bay is such a little boy's director. You know he picked that city because it's the one with the best rock-'em-sock-'em street names. Wacker! Wabash!
    • 42 Metascore
    • 50 Wesley Morris
    The absence of substance, or its banishment, and the director's reliance on allure (in the film's casting and in its look and sound, which features haunting music by Beethoven and Chopin), leave Innocence with the quasi-profound, giggly overreach of a magazine layout come to shameless, shallow life.
    • 54 Metascore
    • 50 Wesley Morris
    Brüno is what "Borat’" was too well-done to be: a publicity stunt about publicity stunts.
    • 58 Metascore
    • 50 Wesley Morris
    The trouble with Quantum of Solace is that the frills are a mess, too. Even the customary opening title sequence, with its writhing silhouettes and screechy theme song by Jack White and Alicia Keys, is a cheesy throwback to the Roger Moore era: Ladies and gentlemen, the Quantum of Solace dancers!
    • 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.
    • 49 Metascore
    • 50 Wesley Morris
    There is one bright spot. Ellie Kendrick plays Dolly's silly, breathlessly romantic little sister, Kitty.
    • 37 Metascore
    • 50 Wesley Morris
    The movie is so dependant on its source material that it fails to put Carter, Thompson, Penn, and Christy to better use.
    • 37 Metascore
    • 50 Wesley Morris
    Eckhart, who gets more rugged by the picture, certainly works hard to bring the audience along. But he's a nervous wreck for nothing. This movie isn't talking to us, it's talking to other serial killer movies.
    • 54 Metascore
    • 50 Wesley Morris
    The platitudes in this gratuitously sentimental movie are taken a lot more seriously than the people.
    • 39 Metascore
    • 50 Wesley Morris
    It’s not a good sign when the first few minutes of a movie about singing, dancing, rapping, video-camera-wielding teenagers reminds you of a certain grimy horror franchise.
    • 56 Metascore
    • 50 Wesley Morris
    Particularly anticlimactic - the film itself seems sprung from molting yuppie catalogs.
    • San Francisco Examiner
    • 37 Metascore
    • 50 Wesley Morris
    Neither hot nor square, it's as simple and earnest as any after-school special and as cameo-laden as any rap video.
    • 37 Metascore
    • 50 Wesley Morris
    Silly little thriller.
    • 40 Metascore
    • 50 Wesley Morris
    The ending steals actionably from "The Blair Witch Project," the movie that helped spawn these first-person chillers.
    • 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
    • 44 Metascore
    • 50 Wesley Morris
    If we learn nothing else about Krasinski as a filmmaker, it’s that he thinks more is more.
    • 56 Metascore
    • 50 Wesley Morris
    Date Night manages to live down to its store-brand title.
    • 41 Metascore
    • 50 Wesley Morris
    Often grating in its presentation.
    • 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.
    • 34 Metascore
    • 50 Wesley Morris
    The laughless outtakes for ''Armed and Fabulous" helpfully remind us that it could have been worse.
    • 44 Metascore
    • 50 Wesley Morris
    There is no central drama, no surprise, no tension in his comedy. The ads for Along Came Polly make it look so upbeat and simple that you're convinced it must be hiding something, like death or a disease. But the truth is there in the advertising: nothing happens.
    • 48 Metascore
    • 50 Wesley Morris
    So much of Virgin is bunk masquerading as sexual politics.
    • 69 Metascore
    • 50 Wesley Morris
    The movie doesn't hang together as a thriller, and the characters don't hang together as interesting people.
    • 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.
    • 46 Metascore
    • 50 Wesley Morris
    Determined to try your patience, asking you to fall in love with it.
    • 38 Metascore
    • 50 Wesley Morris
    If Crossing Over is less self-congratulatory than "Crash" about confronting its designated problem, it's just as inept at dramatizing the complex ways that problem unites and divides us. Here every cause is something you can wear around your neck.
    • 40 Metascore
    • 50 Wesley Morris
    More altruistic would be if Williams stopped torturing us with weepy endearments so he could look for that complex clown who used to mug just for laughs.
    • 59 Metascore
    • 50 Wesley Morris
    Takes a dedicated and true snapshot of African-American life. But so little of its presentation is memorable. This is a haircut movie that redefines ''fade.''
    • 56 Metascore
    • 50 Wesley Morris
    American Violet feels less like life and unreasonably more like the movies.
    • 74 Metascore
    • 50 Wesley Morris
    The characters are intended to be slightly stupid, but the writing isn’t necessarily smarter.
    • 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.
    • 45 Metascore
    • 50 Wesley Morris
    The F&F series is the 21st century's beach movie, one for some beachless future world where the kids are crowning 25 and seem capable of living off of hair gel and exhaust fumes.
    • 45 Metascore
    • 50 Wesley Morris
    Oh my God, evil. What's with you? Ever since "The Exorcist," it's been the same song-and-crab-dance: Demons don't kill, divorce does.
    • 35 Metascore
    • 50 Wesley Morris
    An arthritic failure, genuine only when the two outcast lovers' eyes dart toward each other, then retreat.
    • 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.
    • 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.
    • 50 Metascore
    • 50 Wesley Morris
    There is, however, Viola Davis, who might win an Oscar tomorrow for her one scene in "Doubt." Her part here - a minister combing the street for crack-whores to rescue - is about three times as large.
    • 61 Metascore
    • 50 Wesley Morris
    An inconsequential high-school-reunion comedy that gets better when it stops trying to make you laugh.
    • 55 Metascore
    • 50 Wesley Morris
    If most boxing movies are about redemption, Resurrecting the Champ is a boxing movie that goes to exasperating lengths to redeem its boxing writer.
    • 65 Metascore
    • 50 Wesley Morris
    For all the blathering, heavy-handed pathos, we might as well be watching the Lifetime cable channel.
    • 59 Metascore
    • 50 Wesley Morris
    The movie is weak on attempts at survivalist philosophy (anyone bit by a zombie is likely to become one). Even the religious overtones feel tinny and unpronounced.
    • 44 Metascore
    • 50 Wesley Morris
    Walking Tall, which is credited to four different writers, is wanting for a reason to be.
    • 30 Metascore
    • 50 Wesley Morris
    In Sandler's movies, men don't cry; they urinate. So the scene in which the stars empty their bladders and change the color of a swimming pool's water might be the weepiest of the year.
    • 51 Metascore
    • 50 Wesley Morris
    This is territory previously covered in the French film "Ma Vie en Rose," which took a relatively more sophisticated view of both a child's self-expression and adults' discomfort over it.
    • 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.
    • 45 Metascore
    • 50 Wesley Morris
    Come for the surfing. Stay for the sainthood.
    • 56 Metascore
    • 50 Wesley Morris
    A sequel that makes it clear that the outrageous antics of the first movie had a one-time-only charm.
    • 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.
    • 57 Metascore
    • 50 Wesley Morris
    Somewhere in this movie, amid the ponderous exchanges and unfortunate O. Henry-style coincidences, there's American tragedy.
    • 33 Metascore
    • 50 Wesley Morris
    As an up-to-the-minute representation of the specifics of the teen universe, Sleepover lacks authenticity.
    • 46 Metascore
    • 50 Wesley Morris
    The comedian's thankful willingness to do anything for Blue Streak...is its redeeming grace.
    • 55 Metascore
    • 50 Wesley Morris
    The camerawork is steady, the editing patient, the choreography playful. It's a zippy and inspired piece of moviemaking. But there's one problem. It's playing under the closing credits.
    • 49 Metascore
    • 50 Wesley Morris
    The picture's structural intricacy is a smoke screen for its psychological and emotional shallowness.
    • 28 Metascore
    • 50 Wesley Morris
    The explicit encounters and dirty talk in Eating Out suggest a new genre -- call it porncom -- that seeks to amuse and arouse at the same time.
    • 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.
    • 52 Metascore
    • 50 Wesley Morris
    Chasing Madoff is mostly that sort of movie, the kind you make when all you've seen is other movies and television shows about crime, when you want someone to know what you can do with a juicy story that takes some effort to ruin.
    • 51 Metascore
    • 50 Wesley Morris
    A lazy, torpid piece of animated tourism.
    • 60 Metascore
    • 50 Wesley Morris
    There's too much narration and too many drug-movie cliches.
    • 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.
    • 58 Metascore
    • 50 Wesley Morris
    Brown Sugar fails to produce an image of hip-hoppery as fascinating and complex as the moment when Halle Berry set her tongue wagging during a ghetto-fabulous grind with Warren Beatty in ''Bulworth.''
    • 37 Metascore
    • 50 Wesley Morris
    Only in the last 30 minutes does Evan Almighty put his gifts to decent use. Epically hairy and biblically robed, Carell suggests at that point what a bolder, more psychologically serious treatment of religious conviction would have been like.
    • 35 Metascore
    • 50 Wesley Morris
    But what can you do with Hayden Christensen? He's as close as we have to an android actor. It's all a chore for him. He never looks sufficiently scared, impressed, or surprised by any of this.
    • 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.
    • 36 Metascore
    • 50 Wesley Morris
    Blows to the head are delivered with more subtlety than the message of Diary of a Mad Black Woman.
    • 67 Metascore
    • 50 Wesley Morris
    Leans so heavily on its stars that their performances are marred by their emptiness.
    • 36 Metascore
    • 50 Wesley Morris
    It's often a lapsed, under-informed documentary with restagings.
    • 44 Metascore
    • 50 Wesley Morris
    Killer Elite is based on a true story and about a half-dozen Jason Statham movies.
    • 39 Metascore
    • 50 Wesley Morris
    You put up the cash, the movie clunks.
    • 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.
    • 46 Metascore
    • 50 Wesley Morris
    The movie is so desperate to be palatable, to appeal to everybody that it doesn't taste like anything.
    • 45 Metascore
    • 50 Wesley Morris
    Freeman and Hunter are both overqualified for material this ponderous, but she plays along, while he appears to have made a minimal emotional investment in the oncoming avalanche of coincidences and cliches.
    • 49 Metascore
    • 50 Wesley Morris
    There are two reasons to put up with Soul Men, and that's the soul men themselves. Samuel L. Jackson and Bernie Mac appear to be having a good time, and for most of this raunchy, poorly orchestrated buddy comedy, that's enough.
    • 27 Metascore
    • 50 Wesley Morris
    Delgo demonstrates how hard it is to create a memorable, credible-looking piece of animated entertainment.
    • 45 Metascore
    • 50 Wesley Morris
    This movie is the worst episode of ''Gilmore Girls'' ever.
    • 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.
    • 36 Metascore
    • 50 Wesley Morris
    Parental Guidance is overly generous with regard to the silliness. However, it's not clueless. Crystal seems determined to give as generously as he gets. When a bully whacks him, Crystal covers the bully in vomit. Good for him.

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