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

Wesley Morris' Scores

  • Movies
Average review score: 60
Highest review score: 100 A Separation
Lowest review score: 0 The Devil Inside
Score distribution:
1,500 movie reviews
    • 84 Metascore
    • 100 Wesley Morris
    Guy Maddin is a scholar, poet, prankster, and ferociously devoted classicist who likes to resurrect dead cinemas and deader directors and make them vital all over again.
    • 86 Metascore
    • 100 Wesley Morris
    Who most of these exquisitely costumed people are I have no idea, but they brush past the camera in such rapids of jubilation it's a wonder they don't knock the thing over. I watched most of the film exhilarated, but depressed that I'm not a big Russophile.
    • 86 Metascore
    • 100 Wesley Morris
    Ten
    The new Abbas Kiarostami film is called Ten, and in it something amazing happens: nothing.
    • 72 Metascore
    • 100 Wesley Morris
    A deep, exhaustive, and moving piece of do-it-yourself detective work.
    • 83 Metascore
    • 100 Wesley Morris
    Like no movie before it, Adaptation risks everything -- its cool, its credibility, its very soul -- to expose the horror of making art for the business of entertainment.
    • 84 Metascore
    • 100 Wesley Morris
    This is a love letter from one auteur to another that doesn't feel like a term paper. Instead, Far From Heaven is an honest-to-God drama with resonance all its own.
    • 86 Metascore
    • 100 Wesley Morris
    Nothing momentous happens here, but Philibert has a magical sense of how to find the simple poetry lurking in the universal routine of being a kid. A lot of the film's lyricism is extracurricular.
    • 69 Metascore
    • 100 Wesley Morris
    The worst thing about the first Quentin Tarantino picture in five years is that after 93 minutes of some of the most luscious violence and spellbinding storytelling you're likely to see this year, Kill Bill ends.
    • 70 Metascore
    • 100 Wesley Morris
    The atmosphere is hypo-stylized, vividly generic and worse than real, like a doomy Frederick Wiseman documentary.
    • 81 Metascore
    • 100 Wesley Morris
    This is the first beautiful performance in the year's first great movie.
    • 93 Metascore
    • 100 Wesley Morris
    Freshly viewed, the movie's melancholy seems to fit uncannily well in the moment we find ourselves now. In the film there are mentions of nuclear annihilation and worries that heedless lust and wanton partying could bring Rome a second fall.
    • 87 Metascore
    • 100 Wesley Morris
    A masterpiece.
    • 81 Metascore
    • 100 Wesley Morris
    This is a brilliantly structured hall of mirrors that wraps Catholicism and the movie industry into a tasty film noir.
    • 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.
    • 79 Metascore
    • 100 Wesley Morris
    A marvelous, uncommonly observant, and unexpectedly rousing group portrait.
    • 71 Metascore
    • 100 Wesley Morris
    This is a movie from the past that's also eerily of a piece with the film culture of now and tomorrow.
    • 82 Metascore
    • 100 Wesley Morris
    Jane Austen's novel has been rejiggered into a jaunty romantic comedy that leaves us as incandescently happy as its characters.
    • 83 Metascore
    • 100 Wesley Morris
    Maurice BĂ©nichou does the most heartbreaking work in the movie, playing a friend of Georges's. It's a character and a performance I'll have a tough time getting out of my dreams.
    • 85 Metascore
    • 100 Wesley Morris
    Enigmatic as it is, The Intruder dares us to see movies as visual marvels tethered to humanity.
    • 84 Metascore
    • 100 Wesley Morris
    The movie they've assembled is in the vein of 1973's "Wattstax," but it's much more than a concert documentary. It's a jubilant, civic-minded lollapalooza.
    • 84 Metascore
    • 100 Wesley Morris
    A watchful, winding-down tragedy of a movie that delivers what it promises. As commentary, it's grim. As filmmaking, it's a powerfully disturbing odyssey through the Bucharest health care system.
    • 48 Metascore
    • 100 Wesley Morris
    It's a thrill to watch Posey incorporate, at last, some true emotion into her exuberant screwball wit.
    • 72 Metascore
    • 100 Wesley Morris
    It's one of the great movies on the vicissitudes of love, commitment, and attraction.
    • 64 Metascore
    • 100 Wesley Morris
    Fast Food Nation has the dramatic flatness and willful lack of personality of some documentaries -- or at least how Linklater thinks a documentary should be. The movie nonetheless feels like both a work of investigative journalism and an immense human-interest story, veering into muckraking, horror, teen comedy, and what passes for "Twilight Zone" science fiction.
    • 84 Metascore
    • 100 Wesley Morris
    This is an extraordinary artistic breakthrough from a Mexican director who was already fearlessly good to begin with.
    • 98 Metascore
    • 100 Wesley Morris
    Pan's Labyrinth is a transcendent work of art.
    • 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.
    • 94 Metascore
    • 100 Wesley Morris
    A milestone of eloquent understatement that captures the daily life of have-nots as few American movies have.
    • 61 Metascore
    • 100 Wesley Morris
    Astonishing.
    • 74 Metascore
    • 100 Wesley Morris
    It's so hypnotically breathtaking, you don't realize you're not breathing. By the final shot, you don't realize you're crying either, but there go the tears.