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

Wesley Morris' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Climates
Lowest review score: 0 Whipped
Score distribution:
1826 movie reviews
    • 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.
    • 52 Metascore
    • 50 Wesley Morris
    Narrated from start to close by an 8-year-old, it often seems like a coloring book on tape.
    • 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.
    • 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.
    • 51 Metascore
    • 50 Wesley Morris
    Less a documentary than a PR package with a chip on its shoulder.
    • 51 Metascore
    • 50 Wesley Morris
    Shopworn to the bone.
    • 51 Metascore
    • 50 Wesley Morris
    A rather pat, occasionally desperate road comedy.
    • 51 Metascore
    • 50 Wesley Morris
    A lazy, torpid piece of animated tourism.
    • 51 Metascore
    • 50 Wesley Morris
    More vulgar than funny.
    • 51 Metascore
    • 50 Wesley Morris
    We do learn that love heals and that the movie's title makes a terrifically lewd little rock song. (Thank you, Sol.) But that's about it.
    • 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.
    • 51 Metascore
    • 50 Wesley Morris
    What makes the film such a guilty pleasure is how Williams's righteous self-pity is perfectly matched to Collette's nuttiness and despair.
    • 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.
    • 50 Metascore
    • 50 Wesley Morris
    This movie is the height of by-the-book dullness.
    • 50 Metascore
    • 50 Wesley Morris
    Less like watching a movie than it is like being accosted by one.
    • 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.
    • 50 Metascore
    • 50 Wesley Morris
    The result is a cheap and cloying contraption that doesn't know when to stop smirking.
    • 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.
    • 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.
    • 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.
    • 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.
    • 50 Metascore
    • 50 Wesley Morris
    In theory, there's nothing wrong with this unorthodox approach to Arbus -- attempting to explain her from the inside out. (In its way, Harmony Korine's freakfest "Gummo" is a better Arbus movie.) The trouble is that Shainberg and Wilson don't connect their conceit to anything artistically enlightening, erotic, or truly deviant.
    • 50 Metascore
    • 50 Wesley Morris
    Runs out of fresh ideas about how to make its heroine look nuts.
    • 50 Metascore
    • 50 Wesley Morris
    The current, much better Canadian movie "How She Move" has a more realistic grip on the racial politics of hip-hop-dance.
    • 49 Metascore
    • 50 Wesley Morris
    As insulting as taking the queen to the Olive Garden.
    • 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.
    • 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.
    • 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
    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.

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