Wesley Morris
Select another critic »
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 points higher than other critics. (0-100 point scale)

Wesley Morris' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 How to Survive a Plague
Lowest review score: 0 One Night at McCool's
Score distribution:
1,825 movie reviews
    • 59 Metascore
    • 75 Wesley Morris
    A collection of arbitrary sketches, bits and improvs jammed into a locker room-style variety show masquerading as some semblance of a narrative.
    • 72 Metascore
    • 75 Wesley Morris
    The movie feels exhaustive in its loaded 90-something minutes, showing and telling us much while leaving the meaning of the tangles and twists in this family open to interpretation. For once, the tip of the iceberg is enough.
    • 68 Metascore
    • 75 Wesley Morris
    This movie could have been a nagging, preachy headache had either man exhibited a tendency for self-righteousness. But both are friendly, almost humble about their mischief.
    • 59 Metascore
    • 75 Wesley Morris
    Smoothly made and smart enough. It's not going for too much, but I laughed a lot.
    • 71 Metascore
    • 75 Wesley Morris
    Angry and tragic, Carandiru is finally, in its own way, uplifting.
    • 68 Metascore
    • 75 Wesley Morris
    Vigalondo is only partially capable of building suspense (the film's latter stages contain one knot too many); his achievement owes more to his imagination than his pop craftsmanship.
    • 45 Metascore
    • 75 Wesley Morris
    A screwball comedy that made me wish I were 13 again, because this is precisely the kind of movie I would have gone nuts for in the ninth grade.
    • 80 Metascore
    • 75 Wesley Morris
    The whole thing is as subtle as a watermelon in a bowl of Cheerios but necessary, nonetheless.
    • 55 Metascore
    • 75 Wesley Morris
    In this era of Apatow and Ferrell and Rogen and Wilson, of men monopolizing movie comedy, Baby Mama feels absurdly momentous, and even political. Fey and Poehler aren't just taking back control of their bodies. They're taking back control of their profession.
    • 61 Metascore
    • 75 Wesley Morris
    In Mamet's understanding, straight white maleness is the most powerful weapon such men have. It can also be illusory, which is why the last scenes of Edmond are so touching.
    • 76 Metascore
    • 75 Wesley Morris
    Swift, brutal, lurid, often overheated, and occasionally comical, but it’s also a serious, well acted, and unromantic exploration of the rise and demise of a terrorist gang whose radicalism ultimately reached beyond the young men and women who set it in motion.
    • 74 Metascore
    • 75 Wesley Morris
    Zeiger's movie is a timely salute to the risky and brave men and women who had the temerity not only to think for themselves but to speak their minds.
    • 52 Metascore
    • 75 Wesley Morris
    The movie's inevitabilities (the humiliating loss, the ebb and flow of camaraderie, the triumphant finale) have deep resonance.
    • 64 Metascore
    • 75 Wesley Morris
    Loach makes a working metaphor of the old ant-and-grasshopper story, but the film's images are what echo the loudest.
    • 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.
    • 81 Metascore
    • 75 Wesley Morris
    This is a patient, simmering movie. It's contemplative but without his usual smitten indulgences.
    • 60 Metascore
    • 75 Wesley Morris
    Garlin's movie is beautiful in its own way. It also suggests that David's show would still be brilliant without the aggravation. I'm not saying that David should renounce misanthropy. But maybe he could curb less of Garlin's apparent enthusiasm for people.
    • 63 Metascore
    • 75 Wesley Morris
    Assassination reminds you that Penn can be very funny.
    • 82 Metascore
    • 75 Wesley Morris
    The historical scope of this story, as well as Loach's interest in absolute fairness, seems to have drained some of the life from its telling.
    • 76 Metascore
    • 75 Wesley Morris
    A delightful road movie.
    • 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.
    • 53 Metascore
    • 75 Wesley Morris
    This is one beautifully drawn, frequently lifelike piece of anime.
    • 76 Metascore
    • 75 Wesley Morris
    A dashing fusion of the literary and the cinematic.
    • 75 Metascore
    • 75 Wesley Morris
    The sight of Adams gliding and beaming and chirping in this movie - a self-mocking cartoon that transforms into an inspired live-action musical farce - is just about the happiest time I've had watching an actor do anything all year.
    • 75 Metascore
    • 75 Wesley Morris
    An alt-country paean to libidinal mothers and the little girls who clean up the mess.
    • 56 Metascore
    • 75 Wesley Morris
    Effortlessly entertaining romantic comedy.
    • 23 Metascore
    • 75 Wesley Morris
    What's special about the movie is how totally it believes in itself as a musical. The tunes, co-written by Sandler and a bunch of his pals, take on rock opera and traditional Jewish folk music with boyish exuberance.
    • 64 Metascore
    • 75 Wesley Morris
    A finely coiffed, cream-cheese "8 1/2" remix with Gere, a Marcello Mastroianni for Oprah Winfrey times.
    • San Francisco Examiner
    • 47 Metascore
    • 75 Wesley Morris
    Like Schumacher, director Gregor Schnitzler is more preoccupied with his characters' looks than their behavior. You might not buy the ideas. But you'll definitely want the T-shirt.
    • 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.

Top Trailers