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 The Interrupters
Lowest review score: 0 The Human Centipede II (Full Sequence)
Score distribution:
1,500 movie reviews
    • 82 Metascore
    • 63 Wesley Morris
    A bizarre film.
    • 82 Metascore
    • 88 Wesley Morris
    The beauty of Let the Right One In resides in the way the horror remains grounded in a tragic kind of love.
    • 82 Metascore
    • 88 Wesley Morris
    You can see her (Binoche) effect on Kiarostami's filmmaking: She brings out something new in him, too.
    • 82 Metascore
    • 88 Wesley Morris
    The film quickly becomes one of the most powerful, carefully researched investigations of the moral-legal side effects of current American military campaigns in Afghanistan and Iraq. It's terrifying in a way that sneaks up on you.
    • 82 Metascore
    • 63 Wesley Morris
    Footnote culminates with stirring gravity that you wish Cedar had the confidence - in himself, his material, and us - to sustain. Both Uriel's dilemma and his father's are unenviable, even as you understand the deep guilt, sense of conflict, and hubris this mix-up provokes.
    • 82 Metascore
    • 100 Wesley Morris
    The ends remain loose in The White Ribbon.’ But that lack of closure is thrilling. Haneke lays his movie and its mysteries at our feet, leaving us to ask, “What in tarnation?’’
    • 82 Metascore
    • 75 Wesley Morris
    The movie's few false notes come from Lumet's script, which can be overly explanatory. Because Demme is opting for present-tense realism, the characters are forced to fill us in on who did what when to whom, why, and how.
    • 82 Metascore
    • 88 Wesley Morris
    The achievement of this movie is that Kaurismäki manages the seemingly impossible task of making a farce about farces. In other words, this is a very good movie in quotation marks and a very good movie.
    • 82 Metascore
    • 88 Wesley Morris
    A movingly acted, terrifically old-fashioned World War II picture rethought as a post-colonial rebuke.
    • 82 Metascore
    • 75 Wesley Morris
    Mysteries of Lisbon brings us far inside oil-on-canvas in a way that isn't imitative. It's simply, magically a moving picture, what a movie in the 1800s would look like.
    • 82 Metascore
    • 88 Wesley Morris
    Eerily tragic and chillingly hard to come to terms with.
    • 82 Metascore
    • 63 Wesley Morris
    It's a thriller that refuses to thrill. It taunts us with resolution and mysteries, then slaps our hand for reaching out for a conclusion.
    • 81 Metascore
    • 88 Wesley Morris
    The film has the perverse intelligence of Cronenberg's other movies. It's not his best, but it is certainly his most accessible, least stagy work, obeying the laws of chronology and serving up characters whom we recognize as people.
    • 81 Metascore
    • 63 Wesley Morris
    Full of redeeming throwaways.
    • 81 Metascore
    • 75 Wesley Morris
    Hooper, the director, doesn’t include lots of amazing football sequences to upstage his star. He just moves everyone out of Sheen’s way. It’s about time.
    • 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.
    • 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
    • 75 Wesley Morris
    Mercifully, The Station Agent is not about how these misfits heal one another -- they're not that miserable, for one thing. It's about the unlikely ways proximity, need, and coincidence create friendships.
    • 81 Metascore
    • 100 Wesley Morris
    As demonstrated in his previous film, a plangent snapshot of subsistence called "Waiting for Happiness," Sissako is a poet, and the filmmaking in this new picture is stuff of a deserving laureate.
    • 81 Metascore
    • 63 Wesley Morris
    The movie is foggy with reverence and uncertainty. This is the passive work of a man nervous to touch the third rail of his parents' discontent.
    • 81 Metascore
    • 88 Wesley Morris
    This is also the first of Martel’s films to build in a direction other than up. The film’s lateral movement continues a kind of class commentary.
    • 81 Metascore
    • 100 Wesley Morris
    One of the truest, most beautiful movies ever made about two strangers.
    • 81 Metascore
    • 75 Wesley Morris
    Il Divo is showboat moviemaking, but the opulence is of a piece with the film's damning assessment of the durable Italian elder statesman Giulio Andreotti.
    • 81 Metascore
    • 88 Wesley Morris
    Nathaniel fares well with his father's fellow masters, although Frank Gehry seems evasive.
    • 81 Metascore
    • 100 Wesley Morris
    The usual emphasis in a detective film is upended so that procedure, thrillingly, is more important than action. In its own way, this is one of the most intense cop movies you'll see.
    • 81 Metascore
    • 88 Wesley Morris
    It's delicately made, yet forceful in its delicacy.
    • 81 Metascore
    • 88 Wesley Morris
    The movie Quentin Tarantino has written and directed is corkscrewed, inside-out, upside-down, simultaneously clear-eyed and completely out of its mind.
    • 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.
    • 81 Metascore
    • 75 Wesley Morris
    Wattstax is a disorienting and ironic moviegoing experience. It's a film about the curative powers of rhythm-and-blues music that sets out to frustrate your sense of rhythm in its insistence on the blues.
    • 81 Metascore
    • 75 Wesley Morris
    This is a movie about the marriage between sound and image, and the sound is wearing the pants in the relationship.