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 The White Ribbon
Lowest review score: 0 One Night at McCool's
Score distribution:
1,825 movie reviews
    • 86 Metascore
    • 88 Wesley Morris
    Boys Don't Cry's intensity sneaks up on you like a snake.
    • 65 Metascore
    • 88 Wesley Morris
    Madhouse satire manages to disarm the second you realize it's laughing with you - and sometimes harder.
    • San Francisco Examiner
    • 88 Metascore
    • 88 Wesley Morris
    Imbued with infectious pluck. It's also a lucid, competent, titanically entertaining movie loaded with workable gags.
    • 90 Metascore
    • 88 Wesley Morris
    More often than not the film casts an infectious, evocative spell.
    • San Francisco Examiner
    • 84 Metascore
    • 88 Wesley Morris
    Hysterical-depressing, vividly sobering.
    • 82 Metascore
    • 88 Wesley Morris
    A work of strangely bold, distinctly American pop art - proud to be ashamed, ashamed to be proud, unafraid to ignore its commercial bearings.
    • 87 Metascore
    • 88 Wesley Morris
    Almodovar imbues his Harlequin-novel-meets-Marvel-comic-book melodramas with something more than a wink and a smile, and it's beguiling.
    • 77 Metascore
    • 88 Wesley Morris
    A knock-down, haywire ballad of the adrenalinization of love and despair.
    • 81 Metascore
    • 88 Wesley Morris
    Blair Witch forgoes a literal boogeyman in favor of the unseen, which, in this case, is as scarily bone-chilling as anything they could show you.
    • 79 Metascore
    • 88 Wesley Morris
    Like laughing into a mirror for 113 minutes.
    • 71 Metascore
    • 88 Wesley Morris
    Beautiful, wandering little love story that wants to break your heart and probably will.
    • 59 Metascore
    • 88 Wesley Morris
    In Criminal Lovers, the "Bonnie and Clyde" model of killing-as-erotica gets a shrewd, funny, decidedly French workout.
    • San Francisco Examiner
    • 73 Metascore
    • 88 Wesley Morris
    Through it all, Ozon supplies a sense of pathos that makes fun of its own soullessness, transforming a self-serious suicide note into an existential love letter.
    • San Francisco Examiner
    • 73 Metascore
    • 88 Wesley Morris
    A document of vexing (and vexed) immediacy.
    • 76 Metascore
    • 88 Wesley Morris
    The majestic pageant of images - no sylvan landscape has been this indelibly, dimensionally alive - is inextricably welded to the multifold spiritual / ecological questions about the future that Miyazaki is contemplating.
    • 73 Metascore
    • 88 Wesley Morris
    It's a gas, dude!
    • 66 Metascore
    • 88 Wesley Morris
    It's the rawest, most hot-blooded, provocatively audacious, dangerous movie to come of out Hollywood this year.
    • 71 Metascore
    • 88 Wesley Morris
    It's the hypnotic long-form music video Smoke never got to make.
    • San Francisco Examiner
    • 66 Metascore
    • 88 Wesley Morris
    Her face is as much a part of her comedic form as her observations are. It's an amazing slapstick instrument, creating a scrapbook of living mug shots.
    • 64 Metascore
    • 88 Wesley Morris
    Like so much Iranian cinema, Blackboards is a work of lyrical propaganda. But its metaphors are opaque enough to avoid didacticism, and the film succeeds as an emotionally accessible, almost mystical work.
    • 72 Metascore
    • 88 Wesley Morris
    Moore's roving essay feels even more urgent now than it did when the jury had to make up an award to honor it at the Cannes film festival in May.
    • 77 Metascore
    • 88 Wesley Morris
    That commendable sense of balance, which Dolgin and Franco use to approach this family reunion, ultimately makes the finished product devastating.
    • 72 Metascore
    • 88 Wesley Morris
    In ''Trials,'' Hitchens is almost endearing, stalking Kissinger from one event to the next like a bleary-eyed Michael Moore.
    • 61 Metascore
    • 88 Wesley Morris
    Proves acutely subtle. But its question of what we forgive art in the face of atrocity and immorality is one for the ages.
    • 51 Metascore
    • 88 Wesley Morris
    The best movie Steven Seagal never made. Except that Statham, while just as marked for death, is harder to kill.
    • 62 Metascore
    • 88 Wesley Morris
    lluminating and exceptional docu-portrait.
    • 73 Metascore
    • 88 Wesley Morris
    Awash in strangeness, a poem that details what it's like to be 13 at the end of a millennium.
    • 77 Metascore
    • 88 Wesley Morris
    More a bleak docu-melodrama than an esoteric morality play.
    • 66 Metascore
    • 88 Wesley Morris
    Like a whacked pinata, it spills over with treasures - and one of the best things to fall out is Steve Buscemi, doing a riotously meek variation on the mad-scientist-with-cracked-lenses-and-lab-coat bit.
    • 59 Metascore
    • 88 Wesley Morris
    The movie is the product of his (Friedman) big, shiny love of forgotten soul legends whom superstardom (and the Rock and Roll Hall of Fame, I might add) has eluded.