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 0.6 points lower than other critics. (0-100 point scale)

Wesley Morris' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Taboo
Lowest review score: 0 Lost Souls
Score distribution:
1825 movie reviews
    • 54 Metascore
    • 50 Wesley Morris
    Eddie Murphy in another mediocre family comedy? Imagine that.
    • 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.
    • 50 Metascore
    • 50 Wesley Morris
    Director Nowrasteh seems to think the only way to save lives is to sensationalize death. You could trek to the theater and have this movie whack you upside the head. You could also just mail a check for $10 to the human rights group of your choice.
    • 54 Metascore
    • 50 Wesley Morris
    Brüno is what "Borat’" was too well-done to be: a publicity stunt about publicity stunts.
    • 39 Metascore
    • 50 Wesley Morris
    You put up the cash, the movie clunks.
    • 56 Metascore
    • 50 Wesley Morris
    Is a man with Asperger’s boyfriend material? It’s difficult to determine how we wind up here, but it’s strange that a movie ostensibly about a man and his lack of social options left me depressed about a woman and hers.
    • 57 Metascore
    • 50 Wesley Morris
    A richer movie might speculate on McGartland’s life now. How does a local hero survive in an anonymous void?
    • 62 Metascore
    • 50 Wesley Morris
    The movie has a jolly, half-remembered quality, as though it were adapted from a particularly rose-colored memoir.
    • 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.
    • 61 Metascore
    • 50 Wesley Morris
    All we have here are bits, so many, in fact, that Extract’ feels more like a collection of crumbs.
    • 44 Metascore
    • 50 Wesley Morris
    If we learn nothing else about Krasinski as a filmmaker, it’s that he thinks more is more.
    • 64 Metascore
    • 50 Wesley Morris
    Well-meaning but trying documentary.
    • 47 Metascore
    • 50 Wesley Morris
    The mix of mawkishness and polemic is naive. Children, though, will probably leave with a lot of good questions. A better movie would leave them with more.
    • 49 Metascore
    • 50 Wesley Morris
    New York, I Love You wants us to know that the city is a sexy, romantic, thrillingly random place where anything can go down. Sadly, two of those things are your eyelids.
    • 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.
    • 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.
    • 42 Metascore
    • 50 Wesley Morris
    This is the sort of asinine action exercise that needs a star to blow up cars and leap from rooftop to rooftop with gusto.
    • 47 Metascore
    • 50 Wesley Morris
    Very little of it is as persuasive or enveloping as its beloved English counterpart. But it works very hard to distract 11-year-olds from thinking about the November arrival of “The Deathly Hallows.’’
    • 74 Metascore
    • 50 Wesley Morris
    The characters are intended to be slightly stupid, but the writing isn’t necessarily smarter.
    • 31 Metascore
    • 50 Wesley Morris
    Cop Out seems aptly named. It’s not personal. It’s barely even a movie. It’s a fire hydrant that the director and his stars use for exterior shots.
    • 32 Metascore
    • 50 Wesley Morris
    There is a mild pleasure in the sight of Jude Law pirouetting with a hacksaw through gangs of extras, but the amusement is notional. I actually don’t find him terribly interesting as a kinetic object.
    • 47 Metascore
    • 50 Wesley Morris
    Well-meant though it may be, the movie has an advertorial gloss.
    • 33 Metascore
    • 50 Wesley Morris
    A more convincing star could make this a degree more tolerable, although in Cyrus’s defense not much more.
    • 50 Metascore
    • 50 Wesley Morris
    The only person in Don McKay having a better time than Shue is Melissa Leo, who plays Sonny’s insinuating housemate. She’s too much by half, in an Agnes Moorehead sort of way.
    • 56 Metascore
    • 50 Wesley Morris
    Date Night manages to live down to its store-brand title.
    • 54 Metascore
    • 50 Wesley Morris
    The movie has to twist your arm to get you to feel for these people. But you wouldn’t be wrong to think it’s been broken.
    • 59 Metascore
    • 50 Wesley Morris
    Actually, everything in Bowdon’s rant about America’s woeful public school system is important, including Bowdon.
    • 44 Metascore
    • 50 Wesley Morris
    The amusement it provides is cheap, disposable, and hardly worth the number of quarters you fed into the slot in a frenzy not to go home empty-handed.
    • 34 Metascore
    • 50 Wesley Morris
    Lopez smiles, whines, and blinks her way through this movie. She seems more relaxed than she ever has. And yet it seems like she’s hiding in romantic comedies, lest we discover that she doesn’t have a “Monster’s Ball’’ or even a “Blind Side’’ in her.
    • 33 Metascore
    • 50 Wesley Morris
    The only thing sadder than Jonah Hex is what appears to have happened to his movie.
    • 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.
    • 43 Metascore
    • 50 Wesley Morris
    Little of the fragile wisdom with which García Márquez imbued that idea has survived this timid Hollywood treatment.
    • 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.
    • 58 Metascore
    • 50 Wesley Morris
    These movies are more about the experience of hearing girls and women who should know better holler at the screen. They could just as well be at a concert.
    • 47 Metascore
    • 50 Wesley Morris
    Perrier’s Bounty is all stock material, full of characters that deserve more than the cliched shootouts and showdowns that befall them. Even the movie’s most natural impulses seem to come from a can.
    • 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.
    • 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.
    • 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.
    • 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.
    • 55 Metascore
    • 50 Wesley Morris
    One wants to find enlightenment - or at least entertainment - in this reconsideration of Playboy and of Hefner. But it's tainted.
    • 52 Metascore
    • 50 Wesley Morris
    The romantic comedy has never had a star as depressing as Jennifer Aniston. It's not the movies - well, it isn't simply the movies.
    • 67 Metascore
    • 50 Wesley Morris
    Cairo Time is a kind of bourgeois delusion. It's authentically aggravated but bogusly conceived.
    • 61 Metascore
    • 50 Wesley Morris
    The film is overripe with erotic symbols.
    • 59 Metascore
    • 50 Wesley Morris
    This is a movie whose cynicism in the name of idealism might have appealed to Billy Wilder.
    • 43 Metascore
    • 50 Wesley Morris
    It's hard to care about people this generic - even when they're naked.
    • 51 Metascore
    • 50 Wesley Morris
    Shopworn to the bone.
    • 65 Metascore
    • 50 Wesley Morris
    Buried works better as an evocation of "Twilight Zone'' eeriness. Even then, it's silly and gimmicky.
    • 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.
    • 53 Metascore
    • 50 Wesley Morris
    The Dawn Treader, like its predecessors, has no real struggle or drama. We're dealing with kids for whom everything comes too easily for us to care.
    • 37 Metascore
    • 50 Wesley Morris
    A slow and silly action-comedy romantic-thriller.
    • 51 Metascore
    • 50 Wesley Morris
    A rather pat, occasionally desperate road comedy.
    • 49 Metascore
    • 50 Wesley Morris
    Tron: Legacy gives us a dud stud named Garrett Hedlund as Sam Flynn, the hero of this petrified sequel to 1982's "Tron." None of what he sees impresses. The feeling is mutual.
    • 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.
    • 81 Metascore
    • 50 Wesley Morris
    All the movie's good style goes to waste on a not terribly compelling conceit and loosely sketched characters.
    • 45 Metascore
    • 50 Wesley Morris
    Paltrow makes the part look natural. She's not impersonating an actual singer, so she seems merely like a twangy, alcoholic version of herself. She should be stopped from dancing in enormous arenas, but her thin voice is rather pretty.
    • 55 Metascore
    • 50 Wesley Morris
    Part of the trouble is casting. This is a movie that needs a great or gonzo performer to give it depth or heft.
    • 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.
    • 67 Metascore
    • 50 Wesley Morris
    But that ending is a whopper all the same: a heartless blast of tragedy, exploitation, amusement, and general flagrance.
    • 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.
    • 45 Metascore
    • 50 Wesley Morris
    The movie is generic and shallow in its glimpse of the love and sex lives of a handful of young New Yorkers.
    • 38 Metascore
    • 50 Wesley Morris
    Shadyac doesn't film how his change inspires more change, or showing him, say, starting a school for destitute orphans. All we see him give is this movie. It's not much of a contribution.
    • 36 Metascore
    • 50 Wesley Morris
    The new remake of Arthur is a thin copy of the 1981 original. But it has a few things going for it.
    • 52 Metascore
    • 50 Wesley Morris
    Scream 4 has a smart beginning, featuring Anna Paquin and Kristen Bell, and one well-delivered line at the end that would have brought down the house in a better movie.
    • 52 Metascore
    • 50 Wesley Morris
    The camera, costumes, and art direction do everything right. Too much so. The movie strips away both the grand weirdness of the circus and the dire desolation of the Depression. Diane Arbus and Dorothea Lange are exchanged for Vanity Fair.
    • 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.
    • 50 Metascore
    • 50 Wesley Morris
    It's the sort of movie that thinks cutting between two different stories makes it art. Usually, it feels like an exercise in art. There's a lot of calisthenics but very little beauty or truth or whatever it is the movie is going for.
    • 37 Metascore
    • 50 Wesley Morris
    Mosteller might be the movie's real discovery. He twists his lisp and slurry speech around the dialogue in a way that exudes far less attitude than the kids.
    • 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!
    • 41 Metascore
    • 50 Wesley Morris
    Larry Crowne isn't a movie for adults. It's a movie for adults who don't like things with screens and keyboards.
    • 42 Metascore
    • 50 Wesley Morris
    It's hard to tell whether this is a tribute to female solidarity or a lamentation.
    • 52 Metascore
    • 50 Wesley Morris
    Bring Wet-Naps to The Devil's Double. It's coated and fried in the same batter KFC uses for Extra Crispy chicken. The movie might be greasier, actually.
    • 49 Metascore
    • 50 Wesley Morris
    The crime is appallingly petty. But occasionally the friction between two actors' idiocy will produce a comic spark.
    • 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.
    • 45 Metascore
    • 50 Wesley Morris
    It's basically a blaxploitation movie stretched to meaninglessly international proportions that leans on tired Colombian stereotypes. But if Saldana's aiming to be some kind of new Pam Grier, she needs to save more than herself.
    • 60 Metascore
    • 50 Wesley Morris
    There's too much narration and too many drug-movie cliches.
    • 44 Metascore
    • 50 Wesley Morris
    Killer Elite is based on a true story and about a half-dozen Jason Statham movies.
    • 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.
    • 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.
    • 53 Metascore
    • 50 Wesley Morris
    The movie tries to do for forearms what the loosely similar science-fiction romance "The Adjustment Bureau'' attempted for men's hats: make them chic.
    • 50 Metascore
    • 50 Wesley Morris
    The moviemaking is proficient, if unremarkable. I like the idea of an Elizabethan action movie apparently more than I enjoy watching one.
    • 45 Metascore
    • 50 Wesley Morris
    The movie is long and uniquely bad, the last of Stephenie Meyer's four books greedily tortured into two installments.
    • 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.
    • 54 Metascore
    • 50 Wesley Morris
    It's a parade float atop which Streep can pose and impose. Sometimes her showmanship amounts to shamelessness. She wants us to watch her sack another part.
    • 46 Metascore
    • 50 Wesley Morris
    The movie is so desperate to be palatable, to appeal to everybody that it doesn't taste like anything.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 48 Metascore
    • 50 Wesley Morris
    The party itself is something to see. A Pasadena blowout turns into a horny, druggy, apocalyptic scene culminating in riot police, news choppers, and a gentleman with a flamethrower.
    • 49 Metascore
    • 50 Wesley Morris
    This is acting that seems more freaked out, more traumatized than it ought to for a movie about an unwanted houseguest.
    • 55 Metascore
    • 50 Wesley Morris
    There's also new piety and self-righteousness about parenting. Comedies are nervous to find the real humor and wonder in having a family. It's usually tragedy or nothing.
    • 58 Metascore
    • 50 Wesley Morris
    It's all been called Salmon Fishing in the Yemen, just like Paul Torday's 2007 novel, and, except for some despicable behavior in the later going, it couldn't be more harmless.
    • 33 Metascore
    • 50 Wesley Morris
    This is a manic hour and a half. It's full of pushy, grabby, assertive, borderline obnoxious characters, not all of whom went to Harvard.
    • 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.
    • 35 Metascore
    • 50 Wesley Morris
    It's a movie so late in noticing a shift in American male grooming that for a documentary on the subject to work, Spurlock would either have to pitch it to our grandparents (or be a grandparent) or trace the arc of the shift and unpack it.
    • 57 Metascore
    • 50 Wesley Morris
    This tired little movie got on my last nerve. If Driss is so charismatic and so full of ingenuity, why isn't he using any of that skill to help lift up his family?
    • 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
    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.
    • 37 Metascore
    • 50 Wesley Morris
    The Words aspires to depths greater than the sex we never see these two have. There's nothing for the eye to do while the ear fills with the banalities of two streams of narration, one by Dennis Quaid, the other by Jeremy Irons, all of it built around a lie.
    • 61 Metascore
    • 50 Wesley Morris
    An inconsequential high-school-reunion comedy that gets better when it stops trying to make you laugh.
    • 45 Metascore
    • 50 Wesley Morris
    It's a stupid movie by smart people who aren't smart enough to realize it's stupid.
    • 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."
    • 26 Metascore
    • 50 Wesley Morris
    For some, Atlas Shrugged Part II is a ridiculous movie. For others, it's scripture.
    • 40 Metascore
    • 50 Wesley Morris
    The ending steals actionably from "The Blair Witch Project," the movie that helped spawn these first-person chillers.
    • 45 Metascore
    • 50 Wesley Morris
    Come for the surfing. Stay for the sainthood.
    • 65 Metascore
    • 50 Wesley Morris
    Lacks the creepy immediacy of even the most misbegotten of the found-footage genre.
    • 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.
    • 52 Metascore
    • 50 Wesley Morris
    This fifth and mercifully final installment features so much idle anticipation that it's unclear whether we're watching a movie or an Apple product launch.
    • 36 Metascore
    • 50 Wesley Morris
    The Collection is an honest title. The movie is just a lot of other people's greatest hits.
    • 49 Metascore
    • 50 Wesley Morris
    There is one bright spot. Ellie Kendrick plays Dolly's silly, breathlessly romantic little sister, Kitty.
    • 50 Metascore
    • 50 Wesley Morris
    This movie is the height of by-the-book dullness.
    • 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.
    • 40 Metascore
    • 50 Wesley Morris
    Gangster Squad is an almost movie. It's almost terrible. It's almost entertaining. But it's missing the shameless insanity of a wonderfully bad movie, and the particular vision, point of view, and coherence of some very good ones. So it sits there in between - loud, flashy, and unnecessary.
    • 40 Metascore
    • 50 Wesley Morris
    "Wolverine" feels enslaved to its many masters - Marvel Comics, Hollywood, and the young men who devour their products - never sidestepping the déjà vu it inspires.

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