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

Wesley Morris' Scores

  • Movies
Average review score: 60
Highest review score: 100 Hidden
Lowest review score: 0 From Justin to Kelly
Score distribution:
1,500 movie reviews
    • 45 Metascore
    • 50 Wesley Morris
    It's basically a blaxploitation movie stretched to meaninglessly international proportions that leans on tired Colombian stereotypes. But if Saldana's aiming to be some kind of new Pam Grier, she needs to save more than herself.
    • 60 Metascore
    • 50 Wesley Morris
    There's too much narration and too many drug-movie cliches.
    • 44 Metascore
    • 50 Wesley Morris
    Killer Elite is based on a true story and about a half-dozen Jason Statham movies.
    • 60 Metascore
    • 50 Wesley Morris
    The movie attempts to both explain everything away and pat itself (and Norway) on the back once we see Noa watching President Obama deliver his Nobel Prize speech.
    • 63 Metascore
    • 50 Wesley Morris
    This is a ridiculous movie - a thriller so indifferent to suspense, so above mystery that one character literally stabs another in the front.
    • 53 Metascore
    • 50 Wesley Morris
    The movie tries to do for forearms what the loosely similar science-fiction romance "The Adjustment Bureau'' attempted for men's hats: make them chic.
    • 50 Metascore
    • 50 Wesley Morris
    The moviemaking is proficient, if unremarkable. I like the idea of an Elizabethan action movie apparently more than I enjoy watching one.
    • 45 Metascore
    • 50 Wesley Morris
    The movie is long and uniquely bad, the last of Stephenie Meyer's four books greedily tortured into two installments.
    • 72 Metascore
    • 50 Wesley Morris
    There's a misery in Fassbender that's spellbinding. I rolled my eyes for most of Shame. But never at him. That face tells the story of addiction: the joylessness of sex.
    • 54 Metascore
    • 50 Wesley Morris
    It's a parade float atop which Streep can pose and impose. Sometimes her showmanship amounts to shamelessness. She wants us to watch her sack another part.
    • 46 Metascore
    • 50 Wesley Morris
    The movie is so desperate to be palatable, to appeal to everybody that it doesn't taste like anything.
    • 64 Metascore
    • 50 Wesley Morris
    It's cheap the way The Grey wants to be both a Liam Neeson "Quit Taking My Stuff'' movie and an existential thriller about survival.
    • 62 Metascore
    • 50 Wesley Morris
    Janet McTeer provides a little ham to the role of a woman who dresses up her dogs because she misses her dead twin sons. But there's not nearly enough of her. Nor is there enough legitimate suspense.
    • 52 Metascore
    • 50 Wesley Morris
    I'm not getting the most of his (Washington) charisma or enough of that million-dollar dental work. I'm not getting the joy, and I miss that.
    • 73 Metascore
    • 50 Wesley Morris
    As ponderous and overwrought as a film hogged by a couple of young hipsters named Roméo and Juliette can be.
    • 53 Metascore
    • 50 Wesley Morris
    This movie has no teeth. It does not want to say anything, other than the unprintable word for penis, over and over.
    • 68 Metascore
    • 50 Wesley Morris
    Roskam appears more interested in trying to combine genres that don't easily cohere. On one hand, the film's a crime-thriller and police procedural. On the other, it's about the lingering trauma of Jacky's personal misfortune. The other hand is much stronger.
    • 48 Metascore
    • 50 Wesley Morris
    The party itself is something to see. A Pasadena blowout turns into a horny, druggy, apocalyptic scene culminating in riot police, news choppers, and a gentleman with a flamethrower.
    • 49 Metascore
    • 50 Wesley Morris
    This is acting that seems more freaked out, more traumatized than it ought to for a movie about an unwanted houseguest.
    • 55 Metascore
    • 50 Wesley Morris
    There's also new piety and self-righteousness about parenting. Comedies are nervous to find the real humor and wonder in having a family. It's usually tragedy or nothing.
    • 58 Metascore
    • 50 Wesley Morris
    It's all been called Salmon Fishing in the Yemen, just like Paul Torday's 2007 novel, and, except for some despicable behavior in the later going, it couldn't be more harmless.
    • 33 Metascore
    • 50 Wesley Morris
    This is a manic hour and a half. It's full of pushy, grabby, assertive, borderline obnoxious characters, not all of whom went to Harvard.
    • 58 Metascore
    • 50 Wesley Morris
    You're left with an inert, politically neutral movie, a satire that can't bring itself to properly satirize anything.
    • 35 Metascore
    • 50 Wesley Morris
    It's a movie so late in noticing a shift in American male grooming that for a documentary on the subject to work, Spurlock would either have to pitch it to our grandparents (or be a grandparent) or trace the arc of the shift and unpack it.
    • 57 Metascore
    • 50 Wesley Morris
    This tired little movie got on my last nerve. If Driss is so charismatic and so full of ingenuity, why isn't he using any of that skill to help lift up his family?
    • 71 Metascore
    • 50 Wesley Morris
    Birbiglia, who's from Shrewsbury, has done some wonderful things with awkwardness. I'm sad to report that Sleepwalk With Me isn't one of them.
    • 45 Metascore
    • 50 Wesley Morris
    Oh my God, evil. What's with you? Ever since "The Exorcist," it's been the same song-and-crab-dance: Demons don't kill, divorce does.
    • 37 Metascore
    • 50 Wesley Morris
    The Words aspires to depths greater than the sex we never see these two have. There's nothing for the eye to do while the ear fills with the banalities of two streams of narration, one by Dennis Quaid, the other by Jeremy Irons, all of it built around a lie.
    • 61 Metascore
    • 50 Wesley Morris
    An inconsequential high-school-reunion comedy that gets better when it stops trying to make you laugh.
    • 45 Metascore
    • 50 Wesley Morris
    It's a stupid movie by smart people who aren't smart enough to realize it's stupid.
    • 67 Metascore
    • 50 Wesley Morris
    The whole thing ends with an urgent plea to visit the movie's site, which is partially devoted to The Issues, which involve such topics as "overmedication," "overtreatment," and "reimbursement."
    • 26 Metascore
    • 50 Wesley Morris
    For some, Atlas Shrugged Part II is a ridiculous movie. For others, it's scripture.
    • 40 Metascore
    • 50 Wesley Morris
    The ending steals actionably from "The Blair Witch Project," the movie that helped spawn these first-person chillers.
    • 45 Metascore
    • 50 Wesley Morris
    Come for the surfing. Stay for the sainthood.
    • 65 Metascore
    • 50 Wesley Morris
    Lacks the creepy immediacy of even the most misbegotten of the found-footage genre.
    • 81 Metascore
    • 50 Wesley Morris
    These are truly tedious stakes for an action movie. The franchise isn't worried about world safety. It's fretting over whether to start wearing Depends.
    • 52 Metascore
    • 50 Wesley Morris
    This fifth and mercifully final installment features so much idle anticipation that it's unclear whether we're watching a movie or an Apple product launch.
    • 36 Metascore
    • 50 Wesley Morris
    The Collection is an honest title. The movie is just a lot of other people's greatest hits.
    • 49 Metascore
    • 50 Wesley Morris
    There is one bright spot. Ellie Kendrick plays Dolly's silly, breathlessly romantic little sister, Kitty.
    • 50 Metascore
    • 50 Wesley Morris
    This movie is the height of by-the-book dullness.
    • 36 Metascore
    • 50 Wesley Morris
    Parental Guidance is overly generous with regard to the silliness. However, it's not clueless. Crystal seems determined to give as generously as he gets. When a bully whacks him, Crystal covers the bully in vomit. Good for him.
    • 40 Metascore
    • 50 Wesley Morris
    Gangster Squad is an almost movie. It's almost terrible. It's almost entertaining. But it's missing the shameless insanity of a wonderfully bad movie, and the particular vision, point of view, and coherence of some very good ones. So it sits there in between - loud, flashy, and unnecessary.
    • 40 Metascore
    • 50 Wesley Morris
    "Wolverine" feels enslaved to its many masters - Marvel Comics, Hollywood, and the young men who devour their products - never sidestepping the déjà vu it inspires.
    • 35 Metascore
    • 38 Wesley Morris
    The average Bollywood routine is passionately cheesy. This movie seems cursed with a lactose intolerance.
    • 36 Metascore
    • 38 Wesley Morris
    It plays better as exasperating comedy than genuine horror -- although there is something terrifying about being stuck in a movie whose idea of a bogeyman is a scarecrow with an eating disorder.
    • 52 Metascore
    • 38 Wesley Morris
    The most dispiriting thing about Anger Management is that its cameos seem like leftovers.
    • 35 Metascore
    • 38 Wesley Morris
    The sex bits are flat, the racial innuendo is flatter, and somewhere, Cosby is having a Pudding Pop and shaking his head in disbelief.
    • 32 Metascore
    • 38 Wesley Morris
    The lack of sexual tension is astounding.
    • 41 Metascore
    • 38 Wesley Morris
    Because Spun is so plotless it's almost avant-garde, we're meant to be delighted with its assortment of set pieces.
    • 66 Metascore
    • 38 Wesley Morris
    Like the horror-flick hacks who infest Hollywood like termites, the Pangs don't build suspense, they assault the senses with twitchy photography and Danny's editing.
    • 23 Metascore
    • 38 Wesley Morris
    Brilliantly named Half Past Dead -- or for Seagal pessimists: ''Totally Past His Prime.''
    • 51 Metascore
    • 38 Wesley Morris
    Noe's summation is an ideological sucker-punch from a filmmaker who gets off on abusive relationships. He may as well have thrown a big ''whatever'' up on the screen.
    • 48 Metascore
    • 38 Wesley Morris
    The casting alone should warn you about what kind of bottom this movie's going to hit.
    • 38 Metascore
    • 38 Wesley Morris
    For most of the movie, however, Halle sprints, Halle swims (55 laps!), and Halle screams. It's a two-hour fitness video -- a portrait of the Oscar winner as personal trainer.
    • 35 Metascore
    • 38 Wesley Morris
    Comes tantalizingly close to being interesting.
    • 29 Metascore
    • 38 Wesley Morris
    Boring, mediocre movie.
    • 33 Metascore
    • 38 Wesley Morris
    When it's funny it's uproarious. Otherwise, you're crestfallen to discover that the movie is a relentless sucker punch to black entrepreneurship.
    • 27 Metascore
    • 38 Wesley Morris
    Watching [Berry] run around in that getup I felt embarrassed, the way I do for people who put on makeup before climbing a StairMaster -- it's too much.
    • 40 Metascore
    • 38 Wesley Morris
    There's nothing really wrong with it -- it's bad, but no worse than it needs to be, which is the problem.
    • 61 Metascore
    • 38 Wesley Morris
    Gabizon never establishes a consistent tone or point of view. Instead, we hop from one episode to the next, with no momentum and no reason to care about these people.
    • 33 Metascore
    • 38 Wesley Morris
    House of D, is like the kind of sticky greeting card you'd find on CBS some Sunday nights.
    • 41 Metascore
    • 38 Wesley Morris
    For Hilton haters, the stupid and grotesque remake of House of Wax will only stoke their schadenfreude.
    • 42 Metascore
    • 38 Wesley Morris
    The horrible anticipation he [Aja] builds is derailed by a gimmick that makes the twist in, say, ''Fight Club" seem perfectly logical. To say more would be to ruin the movie, and why should I do that when its own makers have done it for you?
    • 57 Metascore
    • 38 Wesley Morris
    Lila is all come-ons without any charm.
    • 47 Metascore
    • 38 Wesley Morris
    Offers cliches instead of chills.
    • 71 Metascore
    • 38 Wesley Morris
    A one-trick action thriller that feels like a poor cousin of an episode of ''24." Call it ''12."
    • 47 Metascore
    • 38 Wesley Morris
    Just Like Heaven suggests that a post-coma Elizabeth might understand what life is truly all about. Of course, if being alive means having to live in this movie, maybe she was better off the way she was.
    • 47 Metascore
    • 38 Wesley Morris
    An erotic thriller. It is also an Atom Egoyan picture, which means any claims either to actual eroticism or conventional thrills are theoretical at best.
    • 34 Metascore
    • 38 Wesley Morris
    Finding Home is well meant and earnest but is stretched to almost twice what would have been a comfortable length.
    • 67 Metascore
    • 38 Wesley Morris
    Rarely is a movie audience asked to put up with so much noise for such a thankless payoff.
    • 50 Metascore
    • 38 Wesley Morris
    It's actually a pretty lousy thriller.
    • 57 Metascore
    • 38 Wesley Morris
    The movie treats trysting as comedy and yet is stingy with the laughs.
    • 49 Metascore
    • 38 Wesley Morris
    Franco can be exhilarating in movies -- tremulous, unhinged, a little wild. Here his jaw never stops quivering and his eyes stay welled up, advertising a breakdown that never comes. Not that Myles has a presence a man would fall apart over. She's too professional to drive anybody crazy.
    • 64 Metascore
    • 38 Wesley Morris
    This is an inept and unsubtle romantic fantasy about how black people and white people don't mix.
    • 43 Metascore
    • 38 Wesley Morris
    An overblown urban crime drama that should be a lot better than it is.
    • 38 Metascore
    • 38 Wesley Morris
    The strip is now a cartoonish sitcom pretending to be a romantic comedy about a drama queen and his adventures in lust. The movie might have gotten away with it, were it interested in romance or comedy.
    • 46 Metascore
    • 38 Wesley Morris
    Unofficially, You, Me and Dupree is a companion piece to last summer's "Wedding Crashers," a movie whose lunacy is desperately needed this summer.
    • 36 Metascore
    • 38 Wesley Morris
    Perhaps Employee of the Month, which was typed then directed by Greg Coolidge, is unfolding in the key of satire. But you'd have to be a dog to hear it.
    • 33 Metascore
    • 38 Wesley Morris
    The most popular facial expression for victims in The Grudge 2 is something I'd like to call "deep befuddlement." This time "deep befuddlement" goes double for paying customers.
    • 36 Metascore
    • 38 Wesley Morris
    A slick but dull new shoot- ' em-up from Jamaica, doesn't penetrate the mysteries of high-rolling, high-risk thug life.
    • 56 Metascore
    • 38 Wesley Morris
    The real problem with Harsh Times is Jim himself. Bale goes at the part with his usual intensity, but the character still seems like a psycho without psychology or a soul.
    • 67 Metascore
    • 38 Wesley Morris
    Watching the movie made me long for the big , risky ideas and entertainingly fearless filmmaking in David O. Russell's "I Heart Huckabees " and Spike Jonze's "Adaptation ," which Kaufman wrote. Both were similarly conceptual escapades, but they let it all hang out.
    • 44 Metascore
    • 38 Wesley Morris
    Creaky, earnest melodrama.
    • 35 Metascore
    • 38 Wesley Morris
    For better and worse, the movie is more attractive and competently assembled than its schlock peers. That's refreshing, but it hardly excuses the appalling lack of suspense, intermittent tastelessness, or shockingly low camp quotient.
    • 27 Metascore
    • 38 Wesley Morris
    The only recommendable thing about Norbit is that he's not as bad as every other person in this movie.
    • 36 Metascore
    • 38 Wesley Morris
    The movie needs Richard Dreyfuss .
    • 18 Metascore
    • 38 Wesley Morris
    Probably as tolerable as it can be for a comedy with no obvious creative aim. You can imagine the crew cracking up on some outtake reel, which honestly is what this movie feels like.
    • 67 Metascore
    • 38 Wesley Morris
    A powerful film of suffering and sacrifice and desperation. But it's vacuous, banal, and, where its mix of sentiment and grisliness is concerned, rather despicable.
    • 48 Metascore
    • 38 Wesley Morris
    The movie might have been more tolerable had Besson searched harder for a performer and not a specimen. Barbara Stanwyck in her prime might have made more sense.
    • 50 Metascore
    • 38 Wesley Morris
    Nothing about this movie works, not the title (it used to be called "Clubland "), not Blethyn's attempt to inject comedy into her rickety stereotype of a character.
    • 66 Metascore
    • 38 Wesley Morris
    Stardust certainly could have gone somewhere fun. But the magic and zip you need to get a blimp like this off the ground is scarce.
    • 50 Metascore
    • 38 Wesley Morris
    Unlike most of what Moore has been in, Dedication is unlikely to delight retirement homes on movie night. But it's not imaginative, lively, or true enough to speak to its intended audience of American Apparel shoppers, either. It's a slog.
    • 33 Metascore
    • 38 Wesley Morris
    You don't have to hand the folks behind Dragon Wars much (the acting, directing, costumes, editing, props, music, etc: They're all off). But when they decide to sic that giant snake and those prehistoric dino-birds on downtown Los Angeles, the movie turns shockingly watchable.
    • 42 Metascore
    • 38 Wesley Morris
    Human trafficking is an awful societal issue, and Trade happens to be an awful movie about human trafficking.
    • 38 Metascore
    • 38 Wesley Morris
    The Hollywood version of one of those fawning "60 Minutes" segments about musical prodigies. For most of it, I could hear the congested awe of Morley Safer.
    • 39 Metascore
    • 38 Wesley Morris
    Blithely inept.
    • 41 Metascore
    • 38 Wesley Morris
    A sorry excuse for a ghetto SOS.
    • 46 Metascore
    • 38 Wesley Morris
    This is one of those your-roots-are-showing family circuses where just about everybody seems like a clown.
    • 48 Metascore
    • 38 Wesley Morris
    This story could have gone in a number of more inspiring allegorical directions but winds up your average bedtime story instead.
    • 41 Metascore
    • 38 Wesley Morris
    Drillbit Taylor sounds like a rediscovered blaxploitation movie or a name near the top of the NFL draft.
    • 45 Metascore
    • 38 Wesley Morris
    I was not a fan of Albert Brooks's "Looking for Comedy in the Muslim World" (2005), but Brooks, at least, seemed willing to concede before it was over that his movie was a terrible idea. Spurlock seems opportunistically optimistic.
    • 47 Metascore
    • 38 Wesley Morris
    The truth is, indeed, still out there. And when Carter finds it, may he heed its wisdom: Let go.
    • 47 Metascore
    • 38 Wesley Morris
    Swing Vote is a satire that's afraid to satirize.
    • 27 Metascore
    • 38 Wesley Morris
    The movie is a work of ambivalence. Is English making fun of these women? Or is she making a pilot for Lifetime?
    • 51 Metascore
    • 38 Wesley Morris
    The thrill of the ridiculousness is gone. So is all the mystery that made Statham so appealing in the first place.
    • 40 Metascore
    • 38 Wesley Morris
    Watching Granger and Priya chase each other around a hotel like squirrels in a park, you wonder what these two see in each other.
    • 36 Metascore
    • 38 Wesley Morris
    At the very least, a movie like this requires coherence to stay afloat. Barring that, it needs a star to distract us.
    • 31 Metascore
    • 38 Wesley Morris
    Fired Up feels like everybody's first time doing anything - writing, acting, directing, cheerleading.
    • 52 Metascore
    • 38 Wesley Morris
    This is not a movie. It's a coming attraction for a theme park.
    • 64 Metascore
    • 38 Wesley Morris
    Like so many of these farm-raised films, this one looks polished, but takes no risks, offers no surprises, and contains a final sequence that's laughable for its lack of courage.
    • 38 Metascore
    • 38 Wesley Morris
    Almost nothing works in this movie.
    • 48 Metascore
    • 38 Wesley Morris
    Neither (Bullock/Reynolds) brings out anything good in the other, and watching them try hurts the eyes, the tummy, and the libido.
    • 28 Metascore
    • 38 Wesley Morris
    The finale of this tedious piece of Asian-ish action-schlock based on a popular anime series implies an intention to make more. One was plenty for me.
    • 34 Metascore
    • 38 Wesley Morris
    It’s like Bob Fosse night at the martial-arts studio. Most of the killing here is done with bladed throwing stars that, like the ninjas themselves, arrive from nowhere. They appear to have been used to edit the film as well.
    • 62 Metascore
    • 38 Wesley Morris
    It’s a fascinating story: part genetic mystery, part socio-racial tragedy. However, Laing’s life, despite its inherent melodrama, does not automatically lend itself to the screen.
    • 24 Metascore
    • 38 Wesley Morris
    The Strip makes you appreciate what hard work effortless comedy is.
    • 33 Metascore
    • 38 Wesley Morris
    It’s unclear what Amy Adams did to deserve Leap Year, but all that’s missing from the movie is a set of jailhouse bars over her scenes.
    • 34 Metascore
    • 38 Wesley Morris
    This is many lousy movies for the price of one.
    • 47 Metascore
    • 38 Wesley Morris
    It’s network television drama, starring actors best known for their TV work and full of the petty gripes and mild worries of characters who really have nothing compelling to worry about.
    • 22 Metascore
    • 38 Wesley Morris
    The Bounty Hunter does give Christine Baranski, as an Atlantic City entertainer and Mama Aniston, another opportunity to enthrall us with her drag-queenliness.
    • 81 Metascore
    • 38 Wesley Morris
    The secret here is that the movie is rather tasteless. It has the high, slightly nauseating stink of perfume on garbage.
    • 47 Metascore
    • 38 Wesley Morris
    As lifeless and unneeded as The A-Team is, it might have been worse.
    • 48 Metascore
    • 38 Wesley Morris
    There is much to learn from Picasso and Braque Go to the Movies. First, a wealth of sharp professorial minds and great artistic eyes is no guarantee of equivalent documentary moviemaking. Second, when making a sort of thesis statement, it helps to have a thesis.
    • 37 Metascore
    • 38 Wesley Morris
    It has no pulse, no apparent breath.
    • 49 Metascore
    • 38 Wesley Morris
    Rarely have clips from so many good and great movies been put to such dull use.
    • 33 Metascore
    • 38 Wesley Morris
    Seeing her (Kidman) in junk like this is a bit like watching the Queen of England eat a Taco Bell chalupa.
    • 57 Metascore
    • 38 Wesley Morris
    Never achieves the exhilarating feat of exemplifying the types of Hollywood movies it wants to unpack.
    • 65 Metascore
    • 38 Wesley Morris
    The movie is swept up in earnest self-importance.
    • 36 Metascore
    • 38 Wesley Morris
    I don't know whether she's (Hudson) drunk, stoned, or simply out of her mind, but if it weren't so sad watching her pick away at this skimpy, overlong romantic lie, she might be entertaining.
    • 62 Metascore
    • 38 Wesley Morris
    There's just very little in Beautiful Boy that feels fresh or new or truly raw. The houses, that title, every emotion, even the false moves: They're all generic.
    • 60 Metascore
    • 38 Wesley Morris
    It's all emotionally counterfeit, and that bogusness infects the comedy.
    • 28 Metascore
    • 38 Wesley Morris
    If Bunraku were serious about subverting or reinventing the genres it's cobbled together, Moore would play the gunslinger or the samurai or the crime boss. But no. All she gets are a couple of scenes that demonstrate that she still looks great soaking wet.
    • 28 Metascore
    • 38 Wesley Morris
    It's doom that we're meant to feel here. And repulsion. I hate to say, but I shrugged.
    • 40 Metascore
    • 38 Wesley Morris
    You could cast this movie with potato chips and still get cheers when one of the bad guys is cuffed. It doesn't matter that none of it is to be believed.
    • 64 Metascore
    • 38 Wesley Morris
    For too long, this movie asks us to be interested in something that rarely in the history of the service industry has been sustainably entertaining: how dull certain jobs can be.
    • 41 Metascore
    • 38 Wesley Morris
    Even by the unambitious standards of some children's movies and many movies that star Caine, this one has a difficult time making a case for itself as anything other than an adventure in baby-sitting.
    • 43 Metascore
    • 38 Wesley Morris
    Good Deeds is the first of the 11 movies he's written and directed to try a one-tone-fits-all approach. Sadly, that tone is funereal, and it's always a beat out of step with the rhythms of both real life and most movies.
    • 60 Metascore
    • 38 Wesley Morris
    Jeff Who Lives at Home devotes so much of itself to mocking the loneliness and personal shortcomings of these characters that once it stops jabbing and turns serious, you start laughing.
    • 49 Metascore
    • 38 Wesley Morris
    The directors don't know how to make this new plot funny or infectious. Most promises of comedic pleasure go as unfulfilled Stifler's T-shirt. This movie hasn't a clue where to begin the donation process.
    • 39 Metascore
    • 38 Wesley Morris
    Seeing her (Schilling) and Efron fumble at each other is like watching a stick of butter and a bag of flour not turn into a cake.
    • 35 Metascore
    • 38 Wesley Morris
    Some bad movies can make you feel awful for the people who made them and worse for the audience that shows up. The actors, the script, the camera: There's nowhere good they can go. For Greater Glory is that kind of bad movie: a total embarrassment.
    • 30 Metascore
    • 38 Wesley Morris
    Nothing works. Or some of it works, but that doesn't matter because what's working is so deeply, painfully boring.
    • 55 Metascore
    • 38 Wesley Morris
    This is all a long way of saying that the best way to better understand the man who made those and dozens of other movies is simply to see them. There's no case to be made for a mangy shortcut like Hitchcock. It's all surface and formula.
    • 27 Metascore
    • 38 Wesley Morris
    This isn't a genre-less character study, it's myopic romantic comedy, and watching a woman of Catherine Zeta-Jones's easy carnality and fathomless beauty compete for the attention of Gerard Butler, who's pining for Jessica Biel, is dismaying, like spotting Anna Wintour in line at a soup kitchen.
    • 48 Metascore
    • 25 Wesley Morris
    The Banger Sisters so frequently features Hawn running around in revealing attire, tossing instructions at exhausted people that I'm inclined to think of it as a workout video.
    • 38 Metascore
    • 25 Wesley Morris
    Moves from cheekiness to ineptitude, often in a single take.
    • 32 Metascore
    • 25 Wesley Morris
    As perfectly bad horror movies go, Wrong Turn is something new: a gore-splattered workout flick.
    • 31 Metascore
    • 25 Wesley Morris
    Positively reeks of self-importance -- the jokey, ham-fisted, pseudo-socially relevant, punch-pulling kind. It reeks worse of acting -- the Jack-Lemmon-in-a-coma Kevin Spacey kind.
    • 38 Metascore
    • 25 Wesley Morris
    By the time I saw poor Tim crushed, head to toe, by a falling sheet of plate glass, I was certain I hadn't signed up for anything this punishing.
    • 43 Metascore
    • 25 Wesley Morris
    Cradle of lifelessness.
    • 43 Metascore
    • 25 Wesley Morris
    This movie is wretched, condescending, and sad, like watching an elderly man spend more than 100 minutes tapping his arm for the youth vein -- which he never finds.
    • 28 Metascore
    • 25 Wesley Morris
    The trouble with the movie is basically everything. It's long, sloppy, and -- to both the quantum-physics ignorant and informed -- steadily implausible, never exciting in either its skill or its ludicrousness.
    • 45 Metascore
    • 25 Wesley Morris
    Harwood's screenplay obscures any sort of philosophical, religious, or historical considerations in favor of pulpy and faith-bruising sensationalism.
    • 38 Metascore
    • 25 Wesley Morris
    Because the characters in the movie have only stock obsessions and vague personal histories, there's no reason to be interested in them.
    • 24 Metascore
    • 25 Wesley Morris
    Not as desperate, unfunny, and nonsensical as its title. It's worse. Worse than you can imagine. Unless, of course, you've imagined 90-something minutes of bloopers and outtakes that congeal into a story -- much the way a scab is formed.
    • 33 Metascore
    • 25 Wesley Morris
    The movie is as grim and grave as the comic book. But it lacks atmosphere. It's often illogical and drubs you numb with its single dimension: noisy retribution.
    • 34 Metascore
    • 25 Wesley Morris
    The 6-year-old I went with had the villain pegged in the first 15 minutes. Needless to say, she completely ruined the movie for me. Meddling kid.
    • 38 Metascore
    • 25 Wesley Morris
    There's not much of a script. The direction is the pits, and stars Pierce Brosnan and Julianne Moore, playing dueling divorce lawyers who fall in love, are lousy, too.
    • 33 Metascore
    • 25 Wesley Morris
    The movie's no good: It's written, directed, performed, photographed, edited, and marketed on a fifth-grade reading level; despite that and its twin stars' saucer eyes and ropy limbs, it's no Muppet movie either.
    • 33 Metascore
    • 25 Wesley Morris
    It's hard to have sympathy for a movie that tosses in the old shower sneak-up sequence or allows its characters to speak as obviously as possible while standing in a pool of red liquid.
    • 44 Metascore
    • 25 Wesley Morris
    The resulting movie is a nauseating flight of Hollywood navel-gazing.
    • 38 Metascore
    • 25 Wesley Morris
    A terribly self-satisfied lecture about the ubiquity of quantum physics in spiritual life, is dishonest enough to suggest that even its cavalcade of scientists and mystics might not know anything about such topics as reality and the sub-atomic world.
    • 34 Metascore
    • 25 Wesley Morris
    Another gay movie that luxuriates in emotional implausibility.
    • 31 Metascore
    • 25 Wesley Morris
    Just bland behavioral propaganda, and Holmes makes such a guileless and robotic spokeswoman, it wouldn't be nuts to think the White House was just another mansion in Stepford.
    • 49 Metascore
    • 25 Wesley Morris
    Shyer's version is a thing of infinite emptiness and nauseating vanity. It's not funny, alluring, affecting, or erotic, just conceited.
    • 40 Metascore
    • 25 Wesley Morris
    It has a little something to irritate everybody. People looking for romance will find only cardboard lovers. People looking for a resounding musical will find it odd that the camera runs away from the lip-synching cast. And people looking for opera -- well, shame on you.
    • 34 Metascore
    • 25 Wesley Morris
    As she sashays, mirthlessly, from one thankless confrontation to the next, it's unclear why anyone would find Garner any more deserving of stardom than certain mannequins.
    • 27 Metascore
    • 25 Wesley Morris
    This gnarly and illogical little sitcom is bound to make any adult reconsider that next outing with the kids.
    • 32 Metascore
    • 25 Wesley Morris
    Messing should know this is precisely the kind of movie Grace would ridicule Will for dragging her to see.
    • 37 Metascore
    • 25 Wesley Morris
    Barely any of it is funny, and if a minute of it is meant in mockery, few of the darts ever find the board.
    • 39 Metascore
    • 25 Wesley Morris
    A deplorable piece of cynicism whose only point of interest is Gael Garcia Bernal's accent
    • 44 Metascore
    • 25 Wesley Morris
    Scares up few chills.
    • 33 Metascore
    • 25 Wesley Morris
    The latest cannibalization of a popular older horror film.
    • 40 Metascore
    • 25 Wesley Morris
    What the movie lacks most is a real sense of adventure.
    • 30 Metascore
    • 25 Wesley Morris
    It's ultimately just a rigorous personal training film made by people who don't seem to like movies or the people who go to them.
    • 46 Metascore
    • 25 Wesley Morris
    The fun of these movies is that Linney often seems too refined for such greasy junk, but there she is anyway, hamming it down as it were.
    • 36 Metascore
    • 25 Wesley Morris
    His [Director Tony Scott's] pornographic lust for bloodletting, gunplay, and out-of-control camerawork far exceeds his abilities to tell a story.
    • 41 Metascore
    • 25 Wesley Morris
    Neither thrilling nor psychological, but it's chicly shot and edited and is pretty much art-directed to death.
    • 36 Metascore
    • 25 Wesley Morris
    Aeon Flux is the sophomore picture from Karyn Kusama, who's first movie was a modest boxing film called "Girlfight." Here she's in over her head. The movie's sexual and scientific ideas never come through, and the characters would be fun only if they came with a joystick.
    • 35 Metascore
    • 25 Wesley Morris
    An embarrassing romantic comedy from Rob Reiner.
    • 53 Metascore
    • 25 Wesley Morris
    This is by far the most embarrassing of his seven movies.
    • 41 Metascore
    • 25 Wesley Morris
    A depressing piece of gun-crazy Hollywood scuzz that, with its gassy style and runaway immorality, makes a Tony Scott movie look like a Robert Bresson picture.
    • 40 Metascore
    • 25 Wesley Morris
    Part sketch-comedy cartoon, part Cracked magazine spoof, installment four is the most scornfully made yet.
    • 47 Metascore
    • 25 Wesley Morris
    The Lost City is Andy Garcia's ballad to Havana during the Cuban revolution. You'll have to forgive the penthouse view, though -- it's the only one Garcia can seem to find.
    • 29 Metascore
    • 25 Wesley Morris
    This mangy comedy only demonstrates that Lohan's star power is too bright for falling into mounds of mud, rooting around in cat litter for a contact lens, and getting punched out by a roughneck jailbird, as she does here.
    • 43 Metascore
    • 25 Wesley Morris
    It's a terrible sign for a movie when the sole reason for its existence is a satanic opening date.
    • 43 Metascore
    • 25 Wesley Morris
    This is a movie that's built around characters the audience is bound to find more insufferable than anyone does in the movie itself.
    • 29 Metascore
    • 25 Wesley Morris
    Too confused to provide any thrills, even indecent ones.
    • 48 Metascore
    • 25 Wesley Morris
    Television is a state of mind. And the makers of Saw III have delivered the most despicable episode of "One Life to Live" ever.
    • 33 Metascore
    • 25 Wesley Morris
    It's another standard-issue bad star-vehicle action-comedy, this time for Cedric.
    • 26 Metascore
    • 25 Wesley Morris
    A sloppily made bowl of reheated chick-flick cliches.
    • 29 Metascore
    • 25 Wesley Morris
    It's a movie only a psychic could love, since a psychic would know to stay home or see "Zodiac" instead.
    • 46 Metascore
    • 25 Wesley Morris
    The moviemaking is driven only by contempt; he (Roth) wants to nauseate us into submission.
    • 25 Metascore
    • 25 Wesley Morris
    If unused spit takes, flubbed dialogue, and extra improvisation are so uproarious, why not give us 90 minutes of that? License to Wed is tolerable for about five.
    • 36 Metascore
    • 25 Wesley Morris
    War
    Fun here is fleeting.
    • 19 Metascore
    • 25 Wesley Morris
    This is less an affront to women than it is to comedy.
    • 33 Metascore
    • 25 Wesley Morris
    The movie tries going for a laugh or two. It even makes stabs at irony. But since none of the story is suspenseful, remotely believable, or, at the very least, cheaply entertaining, who cares?
    • 25 Metascore
    • 25 Wesley Morris
    The latest Guy Ritchie shoot-em-up, is a joke. You laugh with it but mostly at it.
    • 15 Metascore
    • 25 Wesley Morris
    This is the sort of movie where men stand blankly over dead loved ones, then start digging. Masculine stoicism or emotional botox? You decide.
    • 29 Metascore
    • 25 Wesley Morris
    A tedious adventure-romance.
    • 48 Metascore
    • 25 Wesley Morris
    Might as well have been written by a rushed piece of software. The program calls for a surprise engagement, a street fight complete with crotch punches, an apartment eviction, and a runaway child - all in about five minutes. As an obstacle course, this is mighty efficient. As comic storytelling, it's painful, not too far from being socked in the crotch.
    • 17 Metascore
    • 25 Wesley Morris
    I've seen Pacino over the edge. This is not it. He looks pooped and pickled. Maybe being the only thing standing between a megaplex opening and a trip straight to the $4.99 bin at Target wiped him out.
    • 31 Metascore
    • 25 Wesley Morris
    The movie actually does feel like an Americanized work of Hong Kong moviemaking. But the desperate, derivative style, the nonsense plotting, and leggy, horny women are applied like too much MSG.
    • 36 Metascore
    • 25 Wesley Morris
    When it was over I felt vaguely embarrassed. I wasn't just leaving a movie theater. I was taking a walk of shame.
    • 24 Metascore
    • 25 Wesley Morris
    This is the first time we've seen Myers in the flesh since he committed assault and battery on Dr. Seuss, and I wish the cat had stayed in the hat.
    • 43 Metascore
    • 25 Wesley Morris
    On just about every occasion in Meet Dave, Murphy appears to be on the verge of cracking himself up. This is good news. At least someone found him funny.
    • 34 Metascore
    • 25 Wesley Morris
    There's a cheap thrill in watching Hudson defuse Cook's pig antics with some foulness of her own.
    • 47 Metascore
    • 25 Wesley Morris
    The movie might have something to say about black racism, but the conversations go nowhere, and the cliches of the genre take over.
    • 31 Metascore
    • 25 Wesley Morris
    This is not a movie that has great passion for pleasures of the flesh. Its sexiest scenes involve bullets cutting through the air in the slowest motion possible.
    • 41 Metascore
    • 25 Wesley Morris
    Forget the metaphors, why not just make a movie about poor, exploited Mexicans?
    • 43 Metascore
    • 25 Wesley Morris
    A brutally inane movie.
    • 50 Metascore
    • 25 Wesley Morris
    Taken? You bet.
    • 36 Metascore
    • 25 Wesley Morris
    Playing Clouseau's exasperated boss, Cleese rams his head into a wall minutes into the action. That's a powerful image, insofar as his headache was mine.
    • 34 Metascore
    • 25 Wesley Morris
    The movie might have worked if it winked more - or if it played things completely straight.
    • 33 Metascore
    • 25 Wesley Morris
    There is still a great horror movie about foreclosure to be made. In the meantime, this movie plays games. (How many rounds of hide-and-seek should an audience tolerate?)
    • 20 Metascore
    • 25 Wesley Morris
    Despite all the hyperventilating, the movie fails to consider what these crimes mean when, say, the residents of the White House happen to be black. The filmmakers recognize that identity politics are often a trap door. But it's one they're helpless to save themselves from falling through.
    • 40 Metascore
    • 25 Wesley Morris
    This movie brings to mind much better cable TV shows like the marijuana comedy "Weeds,’" the one-on-one psychodramas of "In Treatment," and the astonishingly cinematic "Breaking Bad."
    • 34 Metascore
    • 25 Wesley Morris
    The Fourth Kind doesn’t build, instill, or maintain an audience’s fear. It just spends 98 minutes trying to prove that what you’re watching actually happened.
    • 34 Metascore
    • 25 Wesley Morris
    Like a lot of action-movie directors, Gray lacks the imagination to view the art of cat-and-mouse as more than a chance to play with state-of-the-art war technology.
    • 34 Metascore
    • 25 Wesley Morris
    Thurman is bespectacled again for Motherhood, and it saddens me to report that neither she nor this comedy turns into more than an argument against procreation.
    • 36 Metascore
    • 25 Wesley Morris
    For what it’s worth, Tooth Fairy is a somehow dimmer cousin of those Tim Allen “Santa Clause’’ movies.
    • 33 Metascore
    • 25 Wesley Morris
    Tom Six's movie has the freakiness and sadism of its genre, but it's so heavy with self-appreciation -- Dude, we had the craziest premise for a movie! -- that it can't lift off into the perverse ecstasy of decent exploitation. That was also the problem with "Snakes on a Plane.''
    • 21 Metascore
    • 25 Wesley Morris
    Just as I was beginning to hope that she’d (Heigl) find a part that called for intelligence and sophistication and backbone, she plays another uptight naif.
    • 37 Metascore
    • 25 Wesley Morris
    Material this banal needs a madman of David Lynch proportions to incinerate it. Hackford leaves it intact, forcing us to regard a car he doesn't have the guts or skill to crash.
    • 53 Metascore
    • 25 Wesley Morris
    The film's centerpiece is a massacre at a wet T-shirt contest, which the horror director Alexandre Aja has a good time staging (yes, Eli Roth, we see you with the water gun). But it feels like an imitation of B-movie beach schlock and John Waters. The visual humor lacks wit or nerve.
    • 49 Metascore
    • 25 Wesley Morris
    Every boogeyman and slasher cliché this movie borrows was better somewhere else. Although it probably wasn't grosser.
    • 25 Metascore
    • 25 Wesley Morris
    I watched at least a quarter of My Soul to Take, the worst horror movie Wes Craven's made perhaps ever, with the glasses off. It was shot - and is available - in a standard format, and, like many conversions, the 3-D gimmick is like watching a movie through an ashtray.
    • 26 Metascore
    • 25 Wesley Morris
    The Strauses don't care about how to keep an audience. Their movie has no sense of suspense or dread - Skyline is an apocalypse movie that plods like one of Romero's zombies.
    • 33 Metascore
    • 25 Wesley Morris
    A migraine inducement that you'd think Jack Black had gotten out of his system years ago. Yet he still finds an excuse to wear a blazer and shorts and fling his bodily orb like Angus Young on Guitar Hero night at the neighborhood bar.
    • 28 Metascore
    • 25 Wesley Morris
    After a while, the movie tires of the witch business and trots out a plot twist that permits the effects department to spend money. Some moviegoers might find the bait-and-switch funny.
    • 46 Metascore
    • 25 Wesley Morris
    Howard never decides on tones that complement each other, and the dissonance is jarring.
    • 23 Metascore
    • 25 Wesley Morris
    It's the latest in the blank-from-hell genre, in which misogyny and entertainment are made to seem indistinguishable while the blank makes life hell for someone who then is cornered into striking back.
    • 44 Metascore
    • 25 Wesley Morris
    Drive Angry is something new for Cage - a movie that feels like it's straight FROM cable.
    • 40 Metascore
    • 25 Wesley Morris
    The characterization couldn't be more flagrant if the soundtrack creaked out an oldie by a certain ancient pop quintet: You're a candy girl.
    • 41 Metascore
    • 25 Wesley Morris
    Hop
    Hop may have taken years to design and animate, but it feels as if minutes were required to compose it.
    • 27 Metascore
    • 25 Wesley Morris
    Grant and Parker stand around as if they're waiting for someone to yell, "Cut.'' He's in one movie. She's in another. Neither is any good.
    • 39 Metascore
    • 25 Wesley Morris
    The film is remarkably stunted.
    • 47 Metascore
    • 25 Wesley Morris
    You don't want to think, what would Preston Sturges or Alexander Payne do with this material? But there is a seed of satirical cynicism in this movie that a smart, clear mind could have finessed. Jake Kasdan is not that director. He doesn't appear to know what to do.
    • 38 Metascore
    • 25 Wesley Morris
    Even by the standards of mental-institution-movie misogyny, what an accidental but predictable creepshow this is.
    • 54 Metascore
    • 25 Wesley Morris
    It's not that Jenna Fischer is miscast in A Little Help. It's that she's mis-everything else: misused, misdirected, misanthropic.
    • 22 Metascore
    • 25 Wesley Morris
    Heartlessness, stupidity, cynicism, and greed are a demoralizing combination for movie-going. We pay to see a movie that doesn't respect us for being there at all.
    • 37 Metascore
    • 25 Wesley Morris
    One of those movies that an audience knows is terrible the minute it starts.
    • 29 Metascore
    • 25 Wesley Morris
    None of what we see is at all credible.
    • 22 Metascore
    • 25 Wesley Morris
    New Year's Eve is fun in the way that eating at a buffet is fun. It's two hours of foods that have nothing to do with each other piled high on a plate because it was too cheap to resist.
    • 31 Metascore
    • 25 Wesley Morris
    It's got both a soap opera plotline and a Chuck Norris-load of taxpayer-financed gadgets and gear. It also has Reese Witherspoon in another terrible part.
    • 32 Metascore
    • 25 Wesley Morris
    The movie wants us to find this frightening, but there's no suspense, no terrifying images.
    • 31 Metascore
    • 25 Wesley Morris
    This is a terrible little movie even by the standards of the genre.
    • 12 Metascore
    • 12 Wesley Morris
    Cosmic slop.
    • 21 Metascore
    • 12 Wesley Morris
    A stupendous bore.
    • 20 Metascore
    • 12 Wesley Morris
    Clueless and sad.
    • 25 Metascore
    • 12 Wesley Morris
    The only chills to be found are courtesy of your theater's central air, and the suspense will come from the wait to see which disappointed kid in a hockey mask will be the first to slash the screen.
    • 19 Metascore
    • 12 Wesley Morris
    Banderas slums through this dollar-bin action flick wearing the same look of wiped-out exasperation that Danny Glover's Sergeant Murtaugh sports in each installment of ''Lethal Weapon.'' And like Murtaugh, Banderas might be too old for this, too.
    • 19 Metascore
    • 12 Wesley Morris
    Yes, I've seen Dumb and Dumberer, so you don't have to. As good deeds go, this is about as significant as getting a cat out of a tree, but believe me, you're better off at home, alphabetizing your old comic books, talking to your parents, or watching paint dry.
    • 31 Metascore
    • 12 Wesley Morris
    At some point, I just tired of looking at all the nicely composed shots unworthy of the stock they're printed on. Lives are at stake here, and I don't mean Julia's and her annoying pals'. I mean the lives of you and me, the only pronouns that really matter here.
    • 33 Metascore
    • 12 Wesley Morris
    Every ounce of the film feels artificially upbeat.
    • 47 Metascore
    • 12 Wesley Morris
    Man on Fire is ponderous and bloated, dragging the Bible and Giannini into its swirling cesspool. Scott can't give the movie any real emotional weight. And Washington gives his first lifeless performance.
    • 24 Metascore
    • 12 Wesley Morris
    Godsend makes swill of religion, science, family, and morality. It has the sensitivity of a cactus, the ingenuity of a square wheel, and the integrity of a CEO.
    • 30 Metascore
    • 12 Wesley Morris
    This prequel has something to appall everybody.
    • 35 Metascore
    • 12 Wesley Morris
    Like so many movies with a keypad for a brain, Resident Evil: Apocalypse is another exercise in making us feel the irritation associated with having to stand behind some game hack for our turn to play.
    • 39 Metascore
    • 12 Wesley Morris
    Most atrocious movies build into their badness, as lacks of talent, ideas, self-confidence, or a total hatred of an audience, are revealed. This one gets it out of the way up front and never looks back.
    • 19 Metascore
    • 12 Wesley Morris
    It's the sort of stupid swill that gets spewed out by a studio committee, slapped together without a brain, a heart, or a good idea about where to put a camera or when to cut a scene.
    • 56 Metascore
    • 12 Wesley Morris
    There's no real journalism here, just the sort of appalling revisionism that can turn a bloodbath into a beach party.
    • 30 Metascore
    • 12 Wesley Morris
    A moronic exercise in supernatural claptrap.
    • 13 Metascore
    • 12 Wesley Morris
    I'm afraid this is one of THOSE movies, one where ''plot" is another word for ''gratuitous sex scene."
    • 32 Metascore
    • 12 Wesley Morris
    A horror film whose only scare is that it was made at all... As with so many stupid horror movies in these post-''Scream" times, this one is at such a creative loss that all it can do is make its audience feel duped for having purchased a ticket.
    • 20 Metascore
    • 12 Wesley Morris
    At its least intolerable, the movie is a fatherhood freak-out.
    • 31 Metascore
    • 12 Wesley Morris
    It's not as bad as the average Hollywood movie, it's stupendously worse.
    • 55 Metascore
    • 12 Wesley Morris
    Yes
    The result is a unique time at the art house: a work whose badness becomes guiltily pleasurable, like a Harlequin romance novel masquerading as a dissertation.
    • 24 Metascore
    • 12 Wesley Morris
    The movie fails to conjure the wonder of the Ray Bradbury short story that inspired it.
    • 40 Metascore
    • 12 Wesley Morris
    The product of immaturity. It approaches suffering with a meaninglessness that must be a luxury for anyone who has never lost anyone, or is incapable of empathizing with someone who has.
    • 27 Metascore
    • 12 Wesley Morris
    Even by the lowest standards, this is a frightless, cynically made movie.
    • 30 Metascore
    • 12 Wesley Morris
    Tens of millions of dollars were spent to tell us what we should have known going in: that the makers of the movie you're slogging through will spare no expense to demonstrate how much they hate us. Do us a favor. Tell them the feeling is mutual.
    • 17 Metascore
    • 12 Wesley Morris
    The willful sloppiness and retrograde gags make Epic Movie, which was not shown to critics, an inevitable byproduct of our Internet video era. It seems downloaded and projected onto the screen, a failing online-film-school project paid for and put out by a Hollywood movie studio. That said, very little on YouTube is this unentertaining.
    • 36 Metascore
    • 12 Wesley Morris
    Long-delayed, pitiful excuse for a horror film.
    • 23 Metascore
    • 12 Wesley Morris
    Just watch Austin on "WrestleMania" instead, avoiding the shower this movie leaves you wanting.
    • 18 Metascore
    • 12 Wesley Morris
    As it develops, Who's Your Caddy? just becomes depressing. You want to alert the United Negro College Fund: A mind has terribly gone to waste.
    • 36 Metascore
    • 12 Wesley Morris
    Getting to the true root of his evil may necessitate "Saw LX."
    • 32 Metascore
    • 12 Wesley Morris
    You want to make lemonade from this, but even the lemons stink.
    • 24 Metascore
    • 12 Wesley Morris
    One Missed Call was originally a so-so Takashi Miike freak-out. Now it's a worse-worse American eyesore.
    • 30 Metascore
    • 12 Wesley Morris
    Over Her Dead Body is to romantic comedy what Spam is to meat. But at least with Spam, you get cool packaging.
    • 17 Metascore
    • 12 Wesley Morris
    When Jamie Lee Curtis ran from a killer in 1980's "Prom Night," she was 22 and had a unique gift for belting out fear. She was the Beverly Sills of slasher flicks. That "Prom Night" was dumb, but it wasn't insulting in the way this remake is.
    • 47 Metascore
    • 12 Wesley Morris
    A horror film with a moral. No matter how nasty a gang of murderers is, the moviemaker calling the shots is ultimately worse.
    • 15 Metascore
    • 12 Wesley Morris
    The grime, filth, slop, vomit, and crotch-nibbling pigs double all too easily as a recipe for this movie's failure. It hasn't been made so much as excreted.
    • 24 Metascore
    • 12 Wesley Morris
    Bangkok Dangerous is bad without lifting a finger toward interesting. The trouble with it is that the people who've made it don't appear to understand life enough to allow any of it into their movie. This is an airless affair.
    • 20 Metascore
    • 12 Wesley Morris
    Oh, Jigsaw. Here we go again. You kill. I doze off. Someone at the studio goes "ka-ching!"
    • 30 Metascore
    • 12 Wesley Morris
    The Unborn joins a growing glut of Holocaust- and Nazi-themed material -- "Valkyrie," "Defiance" - that are long on posturing, suppositions, and righteousness, yet short on moral complexity. Nazism and its crimes have lately inspired theme parks more than actual movies. Too many rides on that roller coaster and I feel sick.
    • 39 Metascore
    • 12 Wesley Morris
    Looks like something stubbed out in an ashtray.
    • 30 Metascore
    • 12 Wesley Morris
    The writers don’t write, the director doesn’t really direct, and the actors don’t exactly act. They wait for the movie’s contraptions to impale them.
    • 29 Metascore
    • 12 Wesley Morris
    Another helping of egregious slicing and slashing.
    • 40 Metascore
    • 12 Wesley Morris
    The movie crassly repurposes tragedy to excuse its cliches.
    • 30 Metascore
    • 12 Wesley Morris
    We’ve just been treated like a fire hydrant.
    • 28 Metascore
    • 12 Wesley Morris
    This is another miserable movie about women at war over nonsense.
    • 24 Metascore
    • 12 Wesley Morris
    The dismemberment and torture are now shtick. The filmmakers - "Saw" veterans - struggle to imbue this movie with the usual righteousness.
    • 37 Metascore
    • 12 Wesley Morris
    The movie is terrible partly because it's badly written, directed, and conceived and partly because it lacks the necessarily thematic coherence to accomplish proselytism of any kind.
    • 45 Metascore
    • 12 Wesley Morris
    It's a crude, queasy, ugly remake of a crude, queasy, ugly, yet artistically superior 40-year-old Sam Peckinpah movie.
    • 31 Metascore
    • 12 Wesley Morris
    All the makers of Texas Chainsaw 3D cared about was getting your $16.
    • 14 Metascore
    • 0 Wesley Morris
    They have the chemistry of step-siblings, so a movie that has them make out is, as the one of the few girls in the theater exclaimed, "so gross."
    • 37 Metascore
    • 0 Wesley Morris
    P2
    Amid the dumbness and disgust for paying customers, the movie does manage to cough up something I didn't expect: a performance so terrible you can't quite believe it's happening: Bentley's.
    • 17 Metascore
    • 0 Wesley Morris
    Really, all Six is going for, with the generous application of both hardware supplies to the skin and feces to the camera, is a tired commentary on his shallow talents: They're excremental.
    • 18 Metascore
    • 0 Wesley Morris
    No one onscreen was actor enough to make us believe we were watching actual people commit or require actual exorcisms.