Wesley Morris

Select another critic »
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 1.3 points lower than other critics. (0-100 point scale)

Wesley Morris' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Precious: Based on the Novel 'Push' by Sapphire
Lowest review score: 0 One Night at McCool's
Score distribution:
1825 movie reviews
    • 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.
    • 52 Metascore
    • 50 Wesley Morris
    Slow and ultimately distressing.
    • 47 Metascore
    • 50 Wesley Morris
    Emmerich does know his way around an action scene -- there's an exciting sequence in which Sam and his buddies run from wolves while looking for meds inside the huge ship that pulls up alongside the library. But he's a master of disaster with no people skills. The characters in The Day After Tomorrow are fantastically stupid.
    • 56 Metascore
    • 50 Wesley Morris
    It's hard not to like a movie like Men of Honor, but it's entirely possible.
    • 51 Metascore
    • 50 Wesley Morris
    Less a documentary than a PR package with a chip on its shoulder.
    • 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.
    • 58 Metascore
    • 50 Wesley Morris
    This movie is especially egregious since it bundles the civil rights era, garden-variety bigotry, and the achievements of Ernie Davis, the first African-American to win the Heisman Trophy.
    • 70 Metascore
    • 50 Wesley Morris
    Long on mood and moodiness, but at a loss as how to break any interesting human ground.
    • 33 Metascore
    • 50 Wesley Morris
    There's more gymnastic yammering in Loving Jezebel than in a season of "Dawson's Creek."
    • 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.
    • 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.
    • 54 Metascore
    • 50 Wesley Morris
    Eddie Murphy in another mediocre family comedy? Imagine that.
    • 45 Metascore
    • 50 Wesley Morris
    What follows is serviceable action set to music you'd find in a video game -- or a military ad.
    • 76 Metascore
    • 50 Wesley Morris
    Harmless enough, but "indie comedy" sounds like something better seen at Urban Outfitters than at a movie theater.
    • 48 Metascore
    • 50 Wesley Morris
    The laserdisc of media movies - it plays fine, but it's clunky and cumbersome.
    • 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.
    • 33 Metascore
    • 50 Wesley Morris
    The movie's enthusiasm is as indelible and shiny as the lip gloss its star wears to bed.
    • 61 Metascore
    • 50 Wesley Morris
    A shameless "Shawshank" redux.
    • 18 Metascore
    • 50 Wesley Morris
    Even 007 is a big old queen. Yes, Roger Moore's on board as a lusty codger, who, unlike the rest of us, can't get enough of Sanz.
    • 48 Metascore
    • 50 Wesley Morris
    It's a fact that becomes riotously evident in the reel of outtakes that caps the picture and incites wonder about why no one thought to give us 90 minutes of those instead.
    • 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.
    • 46 Metascore
    • 50 Wesley Morris
    Had Spacey made Beyond the Sea 10 or 15 years ago, it might have been close to transporting.
    • 37 Metascore
    • 50 Wesley Morris
    Miracle at St. Anna is not work of outrage or joy. It's something distressingly new for the filmmaker: a work of obligation. It feels like a movie Lee made in order to say he did it.
    • 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.
    • 59 Metascore
    • 50 Wesley Morris
    Actually, everything in Bowdon’s rant about America’s woeful public school system is important, including Bowdon.
    • 45 Metascore
    • 50 Wesley Morris
    It's not remotely as luscious or half as bold as Malick's movie, but it is shorter and more educational.
    • 49 Metascore
    • 50 Wesley Morris
    It's called Queens and, no, silly, it's not about six gay men who want to get married. It's about their MOTHERS. And this being a Spanish comedy of the lowest Almodovar-ian order, the moms are a lot more flamboyant than their sons.
    • 49 Metascore
    • 50 Wesley Morris
    Notably Wayansless. It's also notably devoid of a point of view.
    • 37 Metascore
    • 50 Wesley Morris
    A slow and silly action-comedy romantic-thriller.
    • 61 Metascore
    • 50 Wesley Morris
    As innocuous as the love songs on its soundtrack.

Top Trailers