Wesley Morris, Boston Globe
Select another critic »
For 1,499 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 0.7 points higher than other critics.
(0-100 point scale)
Wesley Morris' Scores
- Movies
| Average review score: | 60 |
|---|---|
| Highest review score: |
Critic Score
100
|
| Lowest review score: |
Critic Score
0
|
Score distribution:
-
Positive: 896 out of 1499
-
Mixed: 346 out of 1499
-
Negative: 257 out of 1499
1,499
movie reviews
- By critic score
-
-
Wesley Morris 88
I can't pretend to know fully what Charlie Kaufman is up to in Synecdoche, New York, with all the doubled characters, dreamy reenactments, comical minutiae, and personal unhappiness. But I got a great deal of pleasure out of watching him mount his fantasia about an artist suffering not simply for his art, but because of it. -
-
-
Wesley Morris 88
All the voice work here is excellent, especially Oswalt's. He sounds like Paul Giamatti but with a greater capacity for confidence. -
-
-
Wesley Morris 88
This is also the first of Martel’s films to build in a direction other than up. The film’s lateral movement continues a kind of class commentary. -
-
-
Wesley Morris 88
Revanche was a foreign-language Oscar nominee this year, and it's a better movie than most of the films in the main race. The word "revanche" means "revenge" in German, but "waiting" would have been just as good. -
-
-
Wesley Morris 88
The movies are smart -- smarter than you, but not in an off-putting way. Their basic appeal, especially this new one, is that Matt Damon’s killing machine, Jason Bourne, is the cleverest man on earth. And we thrill to his sense of superiority. -
-
-
Wesley Morris 88
The labor applied to Che is apparent, but it would be wrong to characterize the movie as laborious the way it was in, say, 2006's "The Good German," where Soderbergh took great pains to re-create 1940s Hollywood wartime glamour. -
-
-
Wesley Morris 88
The film has the perverse intelligence of Cronenberg's other movies. It's not his best, but it is certainly his most accessible, least stagy work, obeying the laws of chronology and serving up characters whom we recognize as people. -
-
-
Wesley Morris 88
In the absolutely moving new documentary Watermarks, seven women in their 80s return to the Vienna swimming pool of their youth. -
-
-
Wesley Morris 88
Judy Irving's terrific documentary 'The Wild Parrots of Telegraph Hill is ostensibly about birds, but only in the way that a game of Scrabble is about tiles. -
-
-
Wesley Morris 88
A smartly observed, unpretentious, and unconventional comedy of manners -- or more properly, it's a comedy of mannerisms. -
-
-
Wesley Morris 88
A collection of beautifully acted encounters, conversations, symbols, and vignettes woven into an evocative and unforgettably surreal garment. -
-
-
Wesley Morris 88
The film is a tower of literary and cinematic references, tangential yet somehow essential characters, and one fantastic performance after another. It's a simple movie yet is anything but. -
-
-
-
Wesley Morris 88
The director is becoming a master of blending the political and the personal with eloquence and deceptive lightness. -
-
-
-
Wesley Morris 88
Burton, who directed the film with animator Mike Johnson, has rarely been in brisker, friskier form. -
-
-
Wesley Morris 88
Anderson is the rare filmmaker who doesn't want to use the actress as an instrument or to exploit her independent-movie cachet. She has freed Moore to be what she hasn't been with many directors: credibly human. -
-
-
Wesley Morris 88
It infuriated me. It broke my heart. It convinced me that Caro, who's from New Zealand, is a strong, clear-voiced filmmaker -
-
-
-
Wesley Morris 88
Writers Nicholas Stoller and Judd Apatow remake is more devilish, hitting its targets with the reckless glee required for a round of Whac-A-Mole. -
-
-
Wesley Morris 88
This is a modest marvel of grace and framing that unfolds with the patience of a cloud and is driven more by wonder than pure emotion. It doesn't have the exuberance of Francois Truffaut 's "Small Change." Instead, it's that movie's antonym, yet just as wondrous. -
-
-
Wesley Morris 88
Washington hasn't been this relaxed in years. When he feels like it he can be the most charismatic star in the movies. -
-
-
Wesley Morris 88
The arrival of closing credits feels like a trap door. The film is over, and, suddenly, we have to leave these people. The directors make no guarantee for their futures, but the strength of their filmmaking inspires you to hope for the best. -
-
-
Wesley Morris 88
All the gears, in fact, are shamelessly visible, yet they lock smoothly and resonantly into place. If Akeelah and the Bee is a generic, well-oiled commercial contraption, it is the first to credibly dramatize the plight of a truly gifted, poor black child. -
-
-
Wesley Morris 88
Another triumph of modesty from a master who deserves real, paying audiences, not just the adoration of besotted film critics. -
-
-
Wesley Morris 88
Comes on as both a rebuke to male vanity and a chic metaphor for midlife panic. -
-
-
Wesley Morris 88
Like its stunt work, the movie is both ridiculously hyperactive and a muscular feat of absolute confidence. I don't expect to have a more adrenalizing time at the movies this summer. -
-
-
Wesley Morris 88
Really the film is a deft first-person character study with a war zone for a background. -
-
-
-
Wesley Morris 88
Heymann's film was originally a six-part series for Israeli TV. The feature he and his crew have made smoothly truncates those three hours into a rich, discretely damning 85-minute portrait of intolerance. -
