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 0.5 points higher than other critics. (0-100 point scale)

Wesley Morris' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Gomorrah
Lowest review score: 0 The Devil Inside
Score distribution:
1,825 movie reviews
    • 79 Metascore
    • 75 Wesley Morris
    Part of what hooks you to this movie is how Leth outsmarts his taskmaster, and how the two men have divergent, almost incompatible aesthetic ideals.
    • 79 Metascore
    • 88 Wesley Morris
    This is a film of our times - paranoid, heartbroken, disillusioned - and the rare recent American movie whose characters react the way actual people might.
    • 79 Metascore
    • 63 Wesley Morris
    Downey appears to like all this make-believe. Even the clunky dialogue sounds witty out of his mouth. This is not a part that makes great demands on his talent, and his slummy approach to it is amusing.
    • 79 Metascore
    • 75 Wesley Morris
    At once a stifling exercise in thwarting emotional dynamics and a heated invitation to engage in the film's discourse on the shortcoming of sexual politics and justice in a media-saturated land.
    • 79 Metascore
    • 88 Wesley Morris
    "Grin Without a Cat" brilliantly used montage and a wide intellectual scope to speculate about the history of war and revolution. "Grinning Cat" is a more modest achievement, but the director's wisdom remains robust.
    • 79 Metascore
    • 63 Wesley Morris
    It's inspired of Sachs to lean on Russell for a kind of oblique emotional depth. But it's possible to leave this movie mistaking Sachs's soul for Russell's.
    • 79 Metascore
    • 88 Wesley Morris
    If Keane is a downer, it's a stupendously well-conceived one.
    • 79 Metascore
    • 75 Wesley Morris
    Some girls fight over men. Ballerinas fight over parts. But the occasional brilliance of Black Swan is that it's a one-way fight. Nina battles herself.
    • 78 Metascore
    • 88 Wesley Morris
    The movie has you from its nearly wordless opening sequence.
    • 78 Metascore
    • 88 Wesley Morris
    The movie is a block of paper that, when Tsai's finished with it, becomes a chain of snowflakes. Loneliness doesn't often get such a gorgeously ornate tribute.
    • 78 Metascore
    • 100 Wesley Morris
    Her (Anderson) performance is a study in the difference between hubris and pride, remarkable for how unshowy but profoundly devastating it is.
    • 78 Metascore
    • 75 Wesley Morris
    A sound piece of profiling that has miles of archival footage of the affable, pop-eyed Langlois enthusing.
    • 78 Metascore
    • 63 Wesley Morris
    A gentle collection of scenes that work and scenes that don't.
    • 78 Metascore
    • 100 Wesley Morris
    Not about crashing into walls or crashing into other people. It's about crashing into yourself and living to tell the tale.
    • 78 Metascore
    • 88 Wesley Morris
    It's hugely entertaining.
    • 78 Metascore
    • 75 Wesley Morris
    The resulting film is nobly ridiculous and ridiculously noble, doing everything in its power to subvert the dross it's fooling around with.
    • 78 Metascore
    • 88 Wesley Morris
    A smartly observed, unpretentious, and unconventional comedy of manners -- or more properly, it's a comedy of mannerisms.
    • 78 Metascore
    • 63 Wesley Morris
    The film feels like bare- bones docu-fiction, though, resisting the attendant drama until the bitter, grisly end.
    • 78 Metascore
    • 75 Wesley Morris
    This is that rare art flick whose subject goes nuts because his work is not self-indulgent ENOUGH.
    • 78 Metascore
    • 50 Wesley Morris
    Watching the uncertain and disappointing new apartheid documentary Amandla! A Revolution in Four-Part Harmony'' is like going to the lecture of an impassioned but really disorganized professor.
    • 78 Metascore
    • 75 Wesley Morris
    The longer the film goes on, the more you crave a vaster history of modern Liberia, originally a colony founded by former slaves from the United States.
    • 78 Metascore
    • 63 Wesley Morris
    The welcome hints at emotional excess are compromised by the blunt force of the movie's political point-making.
    • 78 Metascore
    • 63 Wesley Morris
    Installment six of the Harry Potter’ series, The Half-Blood Prince, merely gets us one movie closer to the finale, which, apparently is so big (and by big, I mean “$$$$’’) that it’s being split into two parts.
    • 78 Metascore
    • 75 Wesley Morris
    At its best when it's hovering around the muted dysfunction between a father and a son, who never understood each other to begin with.
    • 78 Metascore
    • 75 Wesley Morris
    Has to be appreciated simply for doing its job, for being the only thriller I've seen recently that made me wonder how my knuckles ended up in my mouth.
    • 78 Metascore
    • 88 Wesley Morris
    Maddin's movies are easy, too. Point your eyes at the screen; the magic follows.
    • 78 Metascore
    • 75 Wesley Morris
    Quite easily Live-in Maid could have descended into a kind of Joan Crawford-Bette Davis gorgon salute. But everyone here seems way too smart for that, though apparently the movie is being prepped for an English-language version. So beware.
    • 78 Metascore
    • 75 Wesley Morris
    Zodiac is a kind of corrective remake of "Se7en," a renunciation of that earlier movie's psychotic nihilism. That rejection extends to a neat sight gag. Fincher gives us a shot of a cardboard cutout for "Dirty Harry" that mocks the personal abyss that catching Zodiac becomes.
    • 78 Metascore
    • 75 Wesley Morris
    Waste Land is just what the film's website says it is: "stirring evidence of the transformative power of art and the alchemy of the human spirit."
    • 78 Metascore
    • 75 Wesley Morris
    This is a film about small victories, huge defeats and finding the will to keep fighting.