For 1,500 reviews, this critic has graded:
  • 51% higher than the average critic
  • 2% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 0.9 points higher than other critics. (0-100 point scale)

Wesley Morris' Scores

  • Movies
Average review score: 60
Highest review score: 100 No End in Sight
Lowest review score: 0 P2
Score distribution:
1,500 movie reviews
    • 81 Metascore
    • 38 Wesley Morris
    The secret here is that the movie is rather tasteless. It has the high, slightly nauseating stink of perfume on garbage.
    • 71 Metascore
    • 38 Wesley Morris
    A one-trick action thriller that feels like a poor cousin of an episode of ''24." Call it ''12."
    • 67 Metascore
    • 38 Wesley Morris
    Watching the movie made me long for the big , risky ideas and entertainingly fearless filmmaking in David O. Russell's "I Heart Huckabees " and Spike Jonze's "Adaptation ," which Kaufman wrote. Both were similarly conceptual escapades, but they let it all hang out.
    • 67 Metascore
    • 38 Wesley Morris
    Rarely is a movie audience asked to put up with so much noise for such a thankless payoff.
    • 67 Metascore
    • 38 Wesley Morris
    A powerful film of suffering and sacrifice and desperation. But it's vacuous, banal, and, where its mix of sentiment and grisliness is concerned, rather despicable.
    • 66 Metascore
    • 38 Wesley Morris
    Like the horror-flick hacks who infest Hollywood like termites, the Pangs don't build suspense, they assault the senses with twitchy photography and Danny's editing.
    • 66 Metascore
    • 38 Wesley Morris
    Stardust certainly could have gone somewhere fun. But the magic and zip you need to get a blimp like this off the ground is scarce.
    • 65 Metascore
    • 38 Wesley Morris
    The movie is swept up in earnest self-importance.
    • 64 Metascore
    • 38 Wesley Morris
    For too long, this movie asks us to be interested in something that rarely in the history of the service industry has been sustainably entertaining: how dull certain jobs can be.
    • 64 Metascore
    • 38 Wesley Morris
    This is an inept and unsubtle romantic fantasy about how black people and white people don't mix.
    • 64 Metascore
    • 38 Wesley Morris
    Like so many of these farm-raised films, this one looks polished, but takes no risks, offers no surprises, and contains a final sequence that's laughable for its lack of courage.
    • 62 Metascore
    • 38 Wesley Morris
    It’s a fascinating story: part genetic mystery, part socio-racial tragedy. However, Laing’s life, despite its inherent melodrama, does not automatically lend itself to the screen.
    • 62 Metascore
    • 38 Wesley Morris
    There's just very little in Beautiful Boy that feels fresh or new or truly raw. The houses, that title, every emotion, even the false moves: They're all generic.
    • 61 Metascore
    • 38 Wesley Morris
    Gabizon never establishes a consistent tone or point of view. Instead, we hop from one episode to the next, with no momentum and no reason to care about these people.
    • 60 Metascore
    • 38 Wesley Morris
    It's all emotionally counterfeit, and that bogusness infects the comedy.
    • 60 Metascore
    • 38 Wesley Morris
    Jeff Who Lives at Home devotes so much of itself to mocking the loneliness and personal shortcomings of these characters that once it stops jabbing and turns serious, you start laughing.
    • 57 Metascore
    • 38 Wesley Morris
    Lila is all come-ons without any charm.
    • 57 Metascore
    • 38 Wesley Morris
    Never achieves the exhilarating feat of exemplifying the types of Hollywood movies it wants to unpack.
    • 57 Metascore
    • 38 Wesley Morris
    The movie treats trysting as comedy and yet is stingy with the laughs.
    • 56 Metascore
    • 38 Wesley Morris
    The real problem with Harsh Times is Jim himself. Bale goes at the part with his usual intensity, but the character still seems like a psycho without psychology or a soul.
    • 56 Metascore
    • 12 Wesley Morris
    There's no real journalism here, just the sort of appalling revisionism that can turn a bloodbath into a beach party.
    • 55 Metascore
    • 12 Wesley Morris
    Yes
    The result is a unique time at the art house: a work whose badness becomes guiltily pleasurable, like a Harlequin romance novel masquerading as a dissertation.
    • 55 Metascore
    • 38 Wesley Morris
    This is all a long way of saying that the best way to better understand the man who made those and dozens of other movies is simply to see them. There's no case to be made for a mangy shortcut like Hitchcock. It's all surface and formula.
    • 54 Metascore
    • 25 Wesley Morris
    It's not that Jenna Fischer is miscast in A Little Help. It's that she's mis-everything else: misused, misdirected, misanthropic.
    • 53 Metascore
    • 25 Wesley Morris
    This is by far the most embarrassing of his seven movies.
    • 53 Metascore
    • 25 Wesley Morris
    The film's centerpiece is a massacre at a wet T-shirt contest, which the horror director Alexandre Aja has a good time staging (yes, Eli Roth, we see you with the water gun). But it feels like an imitation of B-movie beach schlock and John Waters. The visual humor lacks wit or nerve.
    • 52 Metascore
    • 38 Wesley Morris
    The most dispiriting thing about Anger Management is that its cameos seem like leftovers.
    • 52 Metascore
    • 38 Wesley Morris
    This is not a movie. It's a coming attraction for a theme park.
    • 51 Metascore
    • 38 Wesley Morris
    The thrill of the ridiculousness is gone. So is all the mystery that made Statham so appealing in the first place.
    • 51 Metascore
    • 38 Wesley Morris
    Noe's summation is an ideological sucker-punch from a filmmaker who gets off on abusive relationships. He may as well have thrown a big ''whatever'' up on the screen.