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 Vincere
Lowest review score: 0 Saving Silverman
Score distribution:
1,825 movie reviews
    • 46 Metascore
    • 50 Wesley Morris
    It's one TV-movie romp that Kristy McNichol never got around to starring in.
    • 32 Metascore
    • 50 Wesley Morris
    Whitney's body of work doesn't suggest a filmmaker so much as an opportunist with a video camera. He makes a very specific sort of reality movie. It's called porn.
    • 49 Metascore
    • 50 Wesley Morris
    These are not the marks of true cinema; they're the makings of a droopy karaoke video.
    • 37 Metascore
    • 50 Wesley Morris
    Eckhart, who gets more rugged by the picture, certainly works hard to bring the audience along. But he's a nervous wreck for nothing. This movie isn't talking to us, it's talking to other serial killer movies.
    • 46 Metascore
    • 50 Wesley Morris
    Saw
    As long as Saw stays in that big, nasty bathroom, all we need to believe is the knot in our stomachs.
    • 47 Metascore
    • 50 Wesley Morris
    Silly to the last drop of rationed water.
    • 39 Metascore
    • 50 Wesley Morris
    In the end, it's hard to see a real reason for the movie's existence. We already have Muppets.
    • 51 Metascore
    • 50 Wesley Morris
    300
    There's a stale, synthetic airlessness about the movie. Imagine a large cast trapped in a series of spectacular screensavers. It could be ancient Greece. It could be somebody's hard drive.
    • 46 Metascore
    • 50 Wesley Morris
    This remake is ultimately content to be repugnant.
    • 58 Metascore
    • 50 Wesley Morris
    The trouble with Quantum of Solace is that the frills are a mess, too. Even the customary opening title sequence, with its writhing silhouettes and screechy theme song by Jack White and Alicia Keys, is a cheesy throwback to the Roger Moore era: Ladies and gentlemen, the Quantum of Solace dancers!
    • 46 Metascore
    • 50 Wesley Morris
    The biggest problem with this movie - not that it's mediocre, dull, or barely written (though it's guilty on all counts). It's that Carrey himself is miscast.
    • 40 Metascore
    • 50 Wesley Morris
    By taking nonsense seriously Outlander never achieves camp. It's a comic book that's mistaken itself for scripture.
    • 28 Metascore
    • 50 Wesley Morris
    The movie has embarrassingly limited ideas about both the sexes and sex. Like Sandra Bullock’s career woman in “The Proposal,’’ Abby appears to have never heard of intercourse, much less experienced it.
    • 39 Metascore
    • 50 Wesley Morris
    It’s not a good sign when the first few minutes of a movie about singing, dancing, rapping, video-camera-wielding teenagers reminds you of a certain grimy horror franchise.
    • 49 Metascore
    • 50 Wesley Morris
    The movie is full of risible pontifications about the nature of art but falls well short of capturing the angst of creative frustration.
    • 33 Metascore
    • 50 Wesley Morris
    The only thing sadder than Jonah Hex is what appears to have happened to his movie.
    • 52 Metascore
    • 50 Wesley Morris
    Scream 4 has a smart beginning, featuring Anna Paquin and Kristen Bell, and one well-delivered line at the end that would have brought down the house in a better movie.
    • 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.
    • 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.
    • 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.

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