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

Wesley Morris' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 To Be and to Have
Lowest review score: 0 One Night at McCool's
Score distribution:
1,825 movie reviews
    • 80 Metascore
    • 75 Wesley Morris
    As ambitious as this may be, however, the movie's objectives tax its energy even as the girls' plight tears at your heart.
    • 38 Metascore
    • 75 Wesley Morris
    Bay's movie is also a confident mega-production that feels it doesn't need to lean on its visual frills if it has Smith and Lawrence -- it's a natural-born buddy flick.
    • 48 Metascore
    • 75 Wesley Morris
    The movie's glee is contagious.
    • 70 Metascore
    • 75 Wesley Morris
    Very much a genre picture, relying on notions of suspense, surprise, and comeuppance. Indeed, at the center of this movie is a question of whether what we're seeing is really to be believed.
    • 67 Metascore
    • 75 Wesley Morris
    The movie star Julie Christie turned 62 last month, and anyone under the impression that she merely floated through her prime heedless of the age in which she worked should catch her in A Decade Under the Influence.
    • 47 Metascore
    • 75 Wesley Morris
    Witherspoon is a professional, demanding we give ourselves over to her carbonated pluck.
    • 66 Metascore
    • 75 Wesley Morris
    This third installment is the loudest, dopiest, and least inventive of the three. But what the movie...lacks in intelligence it makes up for in sheer doom.
    • 45 Metascore
    • 75 Wesley Morris
    Kate Hudson and Matthew McConaughey don't simply star in this movie; they tag-team it out of the Freddie Prinze Jr. --Julia Stiles puppy-love ghetto.
    • 70 Metascore
    • 75 Wesley Morris
    The movie's narrative can be taxingly ornate, but there's something beautiful about its metaphorical conflation of politics and glamour, the real and the fictional.
    • 55 Metascore
    • 75 Wesley Morris
    Sayles seems to be trying, single-handedly, to correct centuries of First World self-centeredness in Third World contexts.
    • 70 Metascore
    • 75 Wesley Morris
    What the movie lacks in ambition, originality, and grit, it makes up for in pure feeling.
    • 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.
    • 49 Metascore
    • 75 Wesley Morris
    The film is touchingly firm about leveling with children, drawing a careful, crucial line between fantasy and reality, without patronizing or haranguing them.
    • 71 Metascore
    • 75 Wesley Morris
    The film is often at odds with itself as a sincere work of romantic comedy, as Wilder's sometimes were, too. Nonetheless, it's determined to keep Clooney's considerable comedic skills front and center. He's never been looser, sexier, or more antic.
    • 83 Metascore
    • 75 Wesley Morris
    Engrossing, smartly made documentary.
    • 56 Metascore
    • 75 Wesley Morris
    At heart, Sylvia is constructed as a psychological suspense film framed around the ambiguities of Hughes's infidelity and Plath's resulting paranoia. So at its strangest, the movie is a potboiler.
    • 69 Metascore
    • 75 Wesley Morris
    Documentary filmmaker Liz Garbus spent three years shooting two teenagers living in a Maryland juvenile detention center. The completed film is called Girlhood and it feels as much a work in progress as its two troubled subjects do.
    • 54 Metascore
    • 75 Wesley Morris
    Busch combines French absurdist theater and American performance art with a drag queen's flamboyant wit.
    • 73 Metascore
    • 75 Wesley Morris
    Shattered Glass, with its dumb title, is smart about good vs. evil. Incidentally, the good is Lane, who now works at The Washington Post and was a consultant on this picture.
    • 64 Metascore
    • 75 Wesley Morris
    Elf
    The movie sets Ferrell's assaultive and juvenile physical comedy in a less-combative playground, and the result might leave the Ferrell-intolerant exiting the theater on a high.
    • 48 Metascore
    • 75 Wesley Morris
    The film is faithful to its absurdities, sometimes hilariously so.
    • 66 Metascore
    • 75 Wesley Morris
    The movie is like an extra-strength episode of MTV's ''Diary,'' which is like ''A&E Biography'' in the first person. Only ''Resurrection'' has a subject who's been dead for six years.
    • 77 Metascore
    • 75 Wesley Morris
    There's scarcely any dialogue, and the "hukkle" sound is universal enough to make subtitles unnecessary and to please an audience of any age and attention span.
    • 52 Metascore
    • 75 Wesley Morris
    The performances by Plotnick, Leupp, and Roberson comprise a jarring special effect.
    • 65 Metascore
    • 75 Wesley Morris
    It takes almost an hour for The Legend of Leigh Bowery to make a case for Bowery's sort of genius, and in the last third, the movie gives a real sense of what made him him.
    • 70 Metascore
    • 75 Wesley Morris
    A tidy soap opera. But it's a discreet, warmly made one, too. In a show of restraint, the intrigue never rises above mildly juicy.
    • 75 Metascore
    • 75 Wesley Morris
    Part Marxist social drama and part Michael Moore corporation-needling, with fed-up residents trying to outsmart the big, bad naive company to keep their lights on for free.
    • 45 Metascore
    • 75 Wesley Morris
    The reliable Mike Newell directs Mona Lisa Smile with such assurance that the important moments are never mawkish or dull, and he encourages the women to act with absolute conviction.
    • 73 Metascore
    • 75 Wesley Morris
    If Millennium Mambo is the only chance to see Hou Hsaio-hsien's work at a movie theater, you'd better take it.
    • 71 Metascore
    • 75 Wesley Morris
    Aileen is Broomfield working compassionately. Perhaps it's only because he knows he can't save Wuornos that he can offer her as she might have been: part wounded animal, part self-destructive martyr, and all tragedy.