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

Wesley Morris' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Being John Malkovich
Lowest review score: 0 The Devil Inside
Score distribution:
1,825 movie reviews
    • 37 Metascore
    • 50 Wesley Morris
    Neither hot nor square, it's as simple and earnest as any after-school special and as cameo-laden as any rap video.
    • 70 Metascore
    • 50 Wesley Morris
    While Prisoners of Paradise gives us but an impression of Gerron's state of mind, the film does a powerful job of showing us how deflated, small, and desperate this boisterous man had become.
    • 37 Metascore
    • 50 Wesley Morris
    The movie is so dependant on its source material that it fails to put Carter, Thompson, Penn, and Christy to better use.
    • 46 Metascore
    • 50 Wesley Morris
    Martin puts a thankless gloss on the antic role he played in "Parenthood." As his wife, Hunt is the movie's saving grace.
    • 46 Metascore
    • 50 Wesley Morris
    It's one TV-movie romp that Kristy McNichol never got around to starring in.
    • 44 Metascore
    • 50 Wesley Morris
    There is no central drama, no surprise, no tension in his comedy. The ads for Along Came Polly make it look so upbeat and simple that you're convinced it must be hiding something, like death or a disease. But the truth is there in the advertising: nothing happens.
    • 37 Metascore
    • 50 Wesley Morris
    Part soap opera and part thriller, and it has the unique characteristic of being both undeveloped and overwritten.
    • 59 Metascore
    • 50 Wesley Morris
    Takes a dedicated and true snapshot of African-American life. But so little of its presentation is memorable. This is a haircut movie that redefines ''fade.''
    • 36 Metascore
    • 50 Wesley Morris
    The movie is only sporadically interesting.
    • 39 Metascore
    • 50 Wesley Morris
    Bland though it is, "Havana Nights" could be the start of a globe-bettering franchise -- and across history, too: "Dirty Dancing: Monticello Mornings"; "Dirty Dancing: Gaza Strip Afternoons."
    • 49 Metascore
    • 50 Wesley Morris
    The movie has none of the embarrassing absurdity and cheap effects that made last year's trip back to the 14th century, "Timeline,'' such a joke. We should be so lucky. Instead, we get a listless avenger drama.
    • 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.
    • 58 Metascore
    • 50 Wesley Morris
    The movie is weak on attempts at survivalist philosophy (anyone bit by a zombie is likely to become one). Even the religious overtones feel tinny and unpronounced.
    • 44 Metascore
    • 50 Wesley Morris
    Walking Tall, which is credited to four different writers, is wanting for a reason to be.
    • 51 Metascore
    • 50 Wesley Morris
    We do learn that love heals and that the movie's title makes a terrifically lewd little rock song. (Thank you, Sol.) But that's about it.
    • 47 Metascore
    • 50 Wesley Morris
    Emmerich does know his way around an action scene -- there's an exciting sequence in which Sam and his buddies run from wolves while looking for meds inside the huge ship that pulls up alongside the library. But he's a master of disaster with no people skills. The characters in The Day After Tomorrow are fantastically stupid.
    • 61 Metascore
    • 50 Wesley Morris
    Only occasionally do the thrill of the game and the passion of its players come together. That said, these guys' nakedly neurotic enthusiasm keeps the movie from being a total jumble.
    • 41 Metascore
    • 50 Wesley Morris
    The film feels long when it should be brisk, and it's bloated with stretches of hot, dead air. The racial kitsch goes nowhere.
    • 33 Metascore
    • 50 Wesley Morris
    As an up-to-the-minute representation of the specifics of the teen universe, Sleepover lacks authenticity.
    • 46 Metascore
    • 50 Wesley Morris
    An hour and a half of cultural and sexual headaches only barely leavened by MacLachlan's performance.
    • 49 Metascore
    • 50 Wesley Morris
    These are not the marks of true cinema; they're the makings of a droopy karaoke video.
    • 66 Metascore
    • 50 Wesley Morris
    You get the sense that the cheap thrill of cheating is like putting a Band-Aid on a broken bone. The movie feels just as inadequate emotionally and psychologically. There's a lot of outward behavior but no inner life.
    • 49 Metascore
    • 50 Wesley Morris
    The picture's structural intricacy is a smoke screen for its psychological and emotional shallowness.
    • 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.
    • 48 Metascore
    • 50 Wesley Morris
    So much of Virgin is bunk masquerading as sexual politics.
    • 60 Metascore
    • 50 Wesley Morris
    The movie is so chilly and fundamentally empty at its core that we're more or less on the outside looking in.
    • 59 Metascore
    • 50 Wesley Morris
    Wimbledon is refried "Notting Hill" with a Teen People glaze. The latter movie also gave us an American star cheering up some tired British guy. Wimbledon is blander and far less worth rooting for.
    • 48 Metascore
    • 50 Wesley Morris
    One wishes Incantato was made of something other than musty air. Avati provides no real emotional counterweight for all the whimsy and nonsense, and the movie carries neither the force of morality nor the titillation of trashiness.
    • 33 Metascore
    • 50 Wesley Morris
    The movie's enthusiasm is as indelible and shiny as the lip gloss its star wears to bed.
    • 27 Metascore
    • 50 Wesley Morris
    Too much of Taxi is just tired.
    • 49 Metascore
    • 50 Wesley Morris
    Takes a leaf from the "Psycho" handbook and abandons its star for stretches here and there.
    • 63 Metascore
    • 50 Wesley Morris
    It's an exercise in 1970s mood. But all the film does is conjure, channel, and allude, until there's really no movie of Green's own for an audience to grab onto.
    • 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.
    • 44 Metascore
    • 50 Wesley Morris
    The director, Beeban Kidron, handles the proceedings with an episodic aimlessness on par with Bridget's.
    • 47 Metascore
    • 50 Wesley Morris
    Silly to the last drop of rationed water.
    • 46 Metascore
    • 50 Wesley Morris
    Had Spacey made Beyond the Sea 10 or 15 years ago, it might have been close to transporting.
    • 74 Metascore
    • 50 Wesley Morris
    You want the movie to stir your soul, push your intellect, or at the very least, break your heart. But it's such a repetitive and thinly constructed piece of filmmaking that the scope and complexity of Sampedro's case are turned to porridge.
    • 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.
    • 55 Metascore
    • 50 Wesley Morris
    In attempting to show us a love blind to class, culture, and color, she's (Chadha) also made it bland.
    • 55 Metascore
    • 50 Wesley Morris
    Veronica Guerin hardly trusts you to follow its story, opening with the murder, then a series of titles that explain what's to follow.
    • 55 Metascore
    • 50 Wesley Morris
    Like an ''Afterschool Special'' with costumes by Gianni Versace, Mad Love looks better than it feels.
    • 56 Metascore
    • 50 Wesley Morris
    The crime of The Chorus isn't that it's corny. (I like corny.) It's that its corniness seems programmed.
    • 54 Metascore
    • 50 Wesley Morris
    Disappointing for a number of reasons. For one thing, it's silly. For another, it's not always silly enough to be diverting.
    • 64 Metascore
    • 50 Wesley Morris
    It's an unfocused overview that intersperses choppy interviews and observations with clips from "Deep Throat," including some of its most notorious and explicit scenes.
    • 36 Metascore
    • 50 Wesley Morris
    Blows to the head are delivered with more subtlety than the message of Diary of a Mad Black Woman.
    • 35 Metascore
    • 50 Wesley Morris
    So light it should wind up on the ''diet" shelf of the video store.
    • 63 Metascore
    • 50 Wesley Morris
    It's the men in ''Upside" who speak all the truth.
    • 54 Metascore
    • 50 Wesley Morris
    Doesn't entirely work.
    • 34 Metascore
    • 50 Wesley Morris
    The laughless outtakes for ''Armed and Fabulous" helpfully remind us that it could have been worse.
    • 59 Metascore
    • 50 Wesley Morris
    If only Miller's writing had some human zest. Nearly everybody here is crunchy, salt-of-the-earth organic, and off in a dreamland.
    • 62 Metascore
    • 50 Wesley Morris
    A righteous but wrongheaded thriller, chokes on its well-meant outrage and leaves a moth-eaten plot and handful of nonsense characters on its way to a dopey finish.
    • 28 Metascore
    • 50 Wesley Morris
    The explicit encounters and dirty talk in Eating Out suggest a new genre -- call it porncom -- that seeks to amuse and arouse at the same time.
    • 45 Metascore
    • 50 Wesley Morris
    Numbing story.
    • 31 Metascore
    • 50 Wesley Morris
    By Hollywood standards, a movie carried with such gusto by a 67-year-old woman has to be considered a miracle. And I'm not sorry to say I enjoyed watching her do it.
    • 58 Metascore
    • 50 Wesley Morris
    Doing nothing special, Freeman manages to make the picture seem wiser, funnier, and more eloquent than it is.
    • 73 Metascore
    • 50 Wesley Morris
    A lot of the problem is that the picture's protagonist is both naive and foul.
    • 48 Metascore
    • 50 Wesley Morris
    Everyone in this overstaffed showbiz sampler has been better somewhere else. An assortment of talented comedians, character actors, professional athletes, sports commentators, one rapper, and two former sitcom stars sit in this movie like too much food on a buffet cart.
    • 46 Metascore
    • 50 Wesley Morris
    Blame the unsexy subject matter if you want, but blame the uninspired casting first.
    • 63 Metascore
    • 50 Wesley Morris
    As much as the director andco-writer, Paolo Virzi, might try, he can't bring any of these people into focus. The movie is shapeless, too.
    • 55 Metascore
    • 50 Wesley Morris
    Maybe my priorities are wrong, but this inquiring mind wants to know when these two will find a movie entirely worthy of his understatement and her naughtiness. This one has its moments, but it's also littered with action-flick junk.
    • 27 Metascore
    • 50 Wesley Morris
    To be endured rather than enjoyed.
    • 71 Metascore
    • 50 Wesley Morris
    Looks and feels like someone else's better-made schlock.
    • 52 Metascore
    • 50 Wesley Morris
    As the movie is in step with Connelly's aching heroine and not trying to scare our socks off, Dark Water is of a piece with Salles's sensitive filmmaking. Obviously, from a genre standpoint, that presents a tremendous problem. Nobody goes to a horror movie for a good cry.
    • 68 Metascore
    • 50 Wesley Morris
    Some will find it chicly inspired, recalling blaxploitation's heyday with its grimy urban realism. Some will rightly find it corny, absurd, and an insultingly limited presentation of options for the most disenfranchised African-Americans: I'm still waiting for the movie fantasy about the pimp who wants to get his GED.
    • 33 Metascore
    • 50 Wesley Morris
    A cheap, greasy time at the multiplex. You leave annoyed at having been hungry enough to have ever wanted it in the first place.
    • 47 Metascore
    • 50 Wesley Morris
    It has the wild, rancid atmosphere of a garbage bag that a raccoon has ripped open.
    • 29 Metascore
    • 50 Wesley Morris
    It doesn't belong at a megaplex. It should be playing on a Clear Channel station.
    • 56 Metascore
    • 50 Wesley Morris
    A sequel that makes it clear that the outrageous antics of the first movie had a one-time-only charm.
    • 49 Metascore
    • 50 Wesley Morris
    Like most of Hallström's Hollywood movies ("The Cider House Rules," "Chocolat"), this one is excruciatingly tasteful.
    • 71 Metascore
    • 50 Wesley Morris
    Fellowes is so desperate for us to like these people that, despite how guilty everyone seems, there's scarcely any pleasure in the film for us.
    • 52 Metascore
    • 50 Wesley Morris
    Even if the story is hackneyed, it's hackneyed in a warm and universal way.
    • 50 Metascore
    • 50 Wesley Morris
    It's as if a version of Oliver Stone's movie has been frozen in some fraternity house beer cooler since 1987 and thawed for the age of plasma screen TVs.
    • 45 Metascore
    • 50 Wesley Morris
    Audiences of a certain hipster disposition, in fact, will see Elizabethtown and pine for Zach Braff's ''Garden State," the movie to which Elizabethtown bears an unfortunate and inferior resemblance.
    • 34 Metascore
    • 50 Wesley Morris
    Dreary-looking and painfully slow, but it's not terrible.
    • 61 Metascore
    • 50 Wesley Morris
    Dave is one of the most ineffectual characters ever to have an entire movie built around him.
    • 53 Metascore
    • 50 Wesley Morris
    It's pedestrian.
    • 51 Metascore
    • 50 Wesley Morris
    Less a documentary than a PR package with a chip on its shoulder.
    • 55 Metascore
    • 50 Wesley Morris
    Not horrifying enough.
    • 58 Metascore
    • 50 Wesley Morris
    This is a movie you could watch in your sleep.
    • 45 Metascore
    • 50 Wesley Morris
    It's not remotely as luscious or half as bold as Malick's movie, but it is shorter and more educational.
    • 36 Metascore
    • 50 Wesley Morris
    They're still fighting in this sequel. But this is a more visually inspired, muscularly made movie than its predecessor.
    • 45 Metascore
    • 50 Wesley Morris
    Perry is a playwright, and his dialogue here is usually entertaining.
    • 70 Metascore
    • 50 Wesley Morris
    It's a heart-warmer, a well-meaning movie that sets out to wring a modern message (and preferably some tears) from a famous but largely forgotten moment in history.
    • 65 Metascore
    • 50 Wesley Morris
    The best I can say about his (Diesel)performance is that it's charmingly terrible.
    • 40 Metascore
    • 50 Wesley Morris
    I wish I could say there is something pleasurable in watching John Goodman reminisce about the good old days while impaled on a steering wheel in the Volvo he's crashed on a California freeway, but I can't find what it is.
    • 55 Metascore
    • 50 Wesley Morris
    The movie partners all the cliches of the inner-city school drama with the cliches of the dance instructional, and the two keep stomping on each other's toes.
    • 49 Metascore
    • 50 Wesley Morris
    The Sentinel isn't an entire season of ''24" smushed into a bland two hours of movie? Does Kiefer Sutherland know?
    • 53 Metascore
    • 50 Wesley Morris
    Peregrym is like a secondhand Hilary Swank. She has a looser presence and might be a better actor, but since we already have Swank, finding out is not a priority.
    • 58 Metascore
    • 50 Wesley Morris
    In James Marsh's The King, the usually wonderful Gael Garcia Bernal is all wrong for the role of Elvis Valderez.
    • 65 Metascore
    • 50 Wesley Morris
    The score is the most effective thing about the film. Sometimes it's a suspicious, mischie-vous distraction from the reality that not enough of this makes sense.
    • 46 Metascore
    • 50 Wesley Morris
    The F&F series is the 21st century's beach movie, one for some beachless future world where the kids are crowning 25 and seem capable of living off of hair gel and exhaust fumes.
    • 37 Metascore
    • 50 Wesley Morris
    Waist Deep is a cynical excuse for the writer and director (and talented actor) Vondie Curtis-Hall to sock some money away for the kids' college tuition. It's as if he watched "Get Rich or Die Tryin' " and thought, "It needs more palm trees."
    • 50 Metascore
    • 50 Wesley Morris
    Runs out of fresh ideas about how to make its heroine look nuts.
    • 41 Metascore
    • 50 Wesley Morris
    The movie is as inconsequentially pleasant as its star, and far nicer than the title lets on, too.
    • 51 Metascore
    • 50 Wesley Morris
    What makes the film such a guilty pleasure is how Williams's righteous self-pity is perfectly matched to Collette's nuttiness and despair.
    • 55 Metascore
    • 50 Wesley Morris
    According to several sojourners who speak in the film, Amma is the embodiment of love. And according to her website, it's her religion, too.
    • 27 Metascore
    • 50 Wesley Morris
    If Pulse is unsurprising as a horror movie (come on: chalky, soul-sucking freaks again?), as a campaign against the Internet, digital piracy, cellphones, and anything that computes anything (like laptops or brains), it's a riot.
    • 55 Metascore
    • 50 Wesley Morris
    The camerawork is steady, the editing patient, the choreography playful. It's a zippy and inspired piece of moviemaking. But there's one problem. It's playing under the closing credits.
    • 62 Metascore
    • 50 Wesley Morris
    Hollywoodland has scraps of old movie glamour. It also has shades of later movies that sullied all that class and refinement with a lurid touch, namely Roman Polanski's "Chinatown." But that's all Hollywoodland is: scraps and shade.
    • 49 Metascore
    • 50 Wesley Morris
    It's called Queens and, no, silly, it's not about six gay men who want to get married. It's about their MOTHERS. And this being a Spanish comedy of the lowest Almodovar-ian order, the moms are a lot more flamboyant than their sons.
    • 49 Metascore
    • 50 Wesley Morris
    The first thing you notice about this so-so adaptation of James Ellroy's novel is the shoddy acting.
    • 58 Metascore
    • 50 Wesley Morris
    An unremarkable comedy-drama.
    • 37 Metascore
    • 50 Wesley Morris
    Silly little thriller.
    • 74 Metascore
    • 50 Wesley Morris
    The Last King of Scotland joins the ranks of nightmarish innocents-abroad movies, from "Midnight Express" to "Hostel," where the disillusioned hero fights to return to civility.
    • 53 Metascore
    • 50 Wesley Morris
    The point of all this solemnity may be to pay serious respect to those rescue swimmers, who courageously look after errant kayakers or victims of Hurricane Katrina. But what we get in exchange is a movie that feels too much like a Coast Guard recruitment film. Who wants to pay to see that?
    • 45 Metascore
    • 50 Wesley Morris
    What follows is serviceable action set to music you'd find in a video game -- or a military ad.
    • 56 Metascore
    • 50 Wesley Morris
    Everybody in the movie is so tightly wound that Walters seems a model of actorly limberness. She cuts through the movie with speed and mannish, zany wit.
    • 50 Metascore
    • 50 Wesley Morris
    In theory, there's nothing wrong with this unorthodox approach to Arbus -- attempting to explain her from the inside out. (In its way, Harmony Korine's freakfest "Gummo" is a better Arbus movie.) The trouble is that Shainberg and Wilson don't connect their conceit to anything artistically enlightening, erotic, or truly deviant.
    • 39 Metascore
    • 50 Wesley Morris
    This sequel, with the return of the first movie's insatiably slutty Los Angeles collegians, is as vulgar as its predecessor and just as almost-smart.
    • 52 Metascore
    • 50 Wesley Morris
    A lark, with pretensions to be more.
    • 76 Metascore
    • 50 Wesley Morris
    It's taken Dreamgirls 25 years and several false starts to get to the screen, so it's a shame to see what a rush job it feels like.
    • 38 Metascore
    • 50 Wesley Morris
    The mess that's been made with all this money is maddening. This isn't economical moviemaking. It's a deluxe trailer for "Eragon 2."
    • 53 Metascore
    • 50 Wesley Morris
    As it escalates to a nasty conclusion, Alpha Dog doesn't have the moral or emotional weight of tragedy. These aren't the psychologically exploded youths of "Rebel Without a Cause," or even "The Outsiders." They're characters in a long, violent, unbleeped episode of MTV's "Cribs."
    • 49 Metascore
    • 50 Wesley Morris
    The filmmakers don't appear to know what's important, let alone how to pace an epic for big drama and maximum thrills.
    • 45 Metascore
    • 50 Wesley Morris
    Sadly, more than an hour of this movie is given over to talking. And not the wink-wink Quentin Tarantino kind, either.
    • 49 Metascore
    • 50 Wesley Morris
    Perry shelves his crowd-pleasing Madea character and aspires for the impossible mix of 1950s social melodrama, gospel-inflected public service announcement, soap opera, R&B video, girl-centric sitcom on the CW, and any episode of "Good Times," featuring Janet Jackson's oft-affronted Penny. Were Perry a visual director or a logical, patient screenwriter, that hybrid would count as a feat of singular ambition. Instead, it seems like the product of an abbreviated attention span.
    • 64 Metascore
    • 50 Wesley Morris
    This movie just seems like a scattered excuse to make political points without saying much of anything. Worse, it also fails to show us, with any vividness, how Mirit and Smadar think and feel as women.
    • 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.
    • 71 Metascore
    • 50 Wesley Morris
    Sadly, this is the sort of movie in which the white Europeans do all the talking and worrying with each other. The Africans, for the most part, are either terrified, cowering, wincing masses or corpses strewn in the dirt.
    • 49 Metascore
    • 50 Wesley Morris
    The message is clear almost immediately: charity not vanity.
    • 34 Metascore
    • 50 Wesley Morris
    This new movie is a more credible, less grisly act of filmmaking , but it's a less compelling exercise. It doesn't have the ruthless moral reasoning of the first two "Saw" pictures, however grotesque and specious that reasoning was. But it does have a plot that revolves around a ventriloquist and her demon doll.
    • 49 Metascore
    • 50 Wesley Morris
    The movie, instead, is a work of giddy self-sabotage that seems determined to matter and not matter at the same time.
    • 41 Metascore
    • 50 Wesley Morris
    The movie is a serviceable way to pass the time: Kids will cheer the bright colors and funny new words ("Kowabunga!").
    • 62 Metascore
    • 50 Wesley Morris
    "Rear Window" never comes up in the Disturbia press notes, which is probably just as well since it steals that movie's premise but none of Alfred Hitchcock's wit, finesse, or seduction.
    • 68 Metascore
    • 50 Wesley Morris
    You needn’t actually see Fracture to know that if the charge is acting that winks, these two are guilty.
    • 47 Metascore
    • 50 Wesley Morris
    In the Land of Women sounds like a piece of cheap science fiction about the last man on earth. If you're the lovelorn mother and daughter in Jonathan Kasdan's first movie, a grating romantic drama, that's painfully close to the truth.
    • 54 Metascore
    • 50 Wesley Morris
    The Treatment fails to do anything interesting with Jake.
    • 45 Metascore
    • 50 Wesley Morris
    The early dilemma in "Rise of the Silver Surfer " is this: Save the world or marry Jessica Alba . Your conscience says, "Save the world." But the Maxim reader in you knows better.
    • 37 Metascore
    • 50 Wesley Morris
    Only in the last 30 minutes does Evan Almighty put his gifts to decent use. Epically hairy and biblically robed, Carell suggests at that point what a bolder, more psychologically serious treatment of religious conviction would have been like.
    • 69 Metascore
    • 50 Wesley Morris
    Joshua is the sort of movie in which nobody does what you would do: like spank or demand an extra-strength time out.
    • 60 Metascore
    • 50 Wesley Morris
    Technique is all you have to admire. There's nothing underneath the formal exercise. The film's coyness about what's happening is cheap.
    • 46 Metascore
    • 50 Wesley Morris
    The movie's banal fantasies badly chafe any anthropological consideration of what a girl should do with her career. This isn't life. It's Lifetime.
    • 55 Metascore
    • 50 Wesley Morris
    If most boxing movies are about redemption, Resurrecting the Champ is a boxing movie that goes to exasperating lengths to redeem its boxing writer.
    • 76 Metascore
    • 50 Wesley Morris
    As films about the young and the horny go, I preferred the smarter approach director Jeffrey Blitz takes in "Rocket Science."
    • 37 Metascore
    • 50 Wesley Morris
    The film is nothing to be ashamed of (especially if you're Kingsley). But it's as if everybody involved knows what the deal is.
    • 54 Metascore
    • 50 Wesley Morris
    The platitudes in this gratuitously sentimental movie are taken a lot more seriously than the people.
    • 61 Metascore
    • 50 Wesley Morris
    It's a lot like a pumpkin spice frappuccino with extra sugar and extra cream. You'll laugh. You'll cry. You'll leave with foam on your nose. So cute. As a friend said on the way out: At least no books were harmed in the making of this movie. And he's right. But that's only because no one really tried.
    • 46 Metascore
    • 50 Wesley Morris
    This remake is ultimately content to be repugnant.
    • 55 Metascore
    • 50 Wesley Morris
    Rendition is a reminder that, in the wrong hands, political outrage can be a slog.
    • 46 Metascore
    • 50 Wesley Morris
    The real problem with this movie isn't its trashy side - the "Death Wish" stuff is actually suspenseful. It's the creepy note of causal judgment that hangs over it.
    • 47 Metascore
    • 50 Wesley Morris
    It does not feel good to report that a movie with Robert Redford, Meryl Streep, and Tom Cruise makes the eyelids droop. But that's what Lions for Lambs does.
    • 48 Metascore
    • 50 Wesley Morris
    About a magical toy shop, but it has some of the sadder moments I've seen in a movie all year.
    • 42 Metascore
    • 50 Wesley Morris
    In The Bucket List, Nicholson is human-ish. And Freeman is so human.
    • 69 Metascore
    • 50 Wesley Morris
    Is, in its way, an apolitical comedy about politics. Or at least a naïve one, since those weapons likely eventually made their way into the hands of Al Qaeda.
    • 63 Metascore
    • 50 Wesley Morris
    The movie has a dramatic thinness, breezy tone, and unconvincing happy-ish ending that make it feel more inconsequential than anything about killers and imperiled children probably should.
    • 36 Metascore
    • 50 Wesley Morris
    Their movie is watchable - never more gratuitously so than when Alba is filmed showering and slipping into a tank top. But we've been here before, no?
    • 35 Metascore
    • 50 Wesley Morris
    But what can you do with Hayden Christensen? He's as close as we have to an android actor. It's all a chore for him. He never looks sufficiently scared, impressed, or surprised by any of this.
    • 50 Metascore
    • 50 Wesley Morris
    The current, much better Canadian movie "How She Move" has a more realistic grip on the racial politics of hip-hop-dance.
    • 69 Metascore
    • 50 Wesley Morris
    The movie doesn't hang together as a thriller, and the characters don't hang together as interesting people.
    • 63 Metascore
    • 50 Wesley Morris
    It's polished-looking, yet dull.
    • 67 Metascore
    • 50 Wesley Morris
    I left as frustrated as that band teacher is at the beginning of the movie. Enough with these meek, banal exercises, David Gordon Green. Hit me with the sledgehammer in your heart.
    • 40 Metascore
    • 50 Wesley Morris
    The movie seems terrified of true psychological complexity or perversity. It's less a family tragedy than a lousy country dirge.
    • 57 Metascore
    • 50 Wesley Morris
    A defective poker comedy where the poker is a lot more interesting than the people playing it.
    • 57 Metascore
    • 50 Wesley Morris
    Mostly, Smart People is a failure of imagination.
    • 35 Metascore
    • 50 Wesley Morris
    Deal doesn't really care about the characters as much as it does the World Poker Championships, where Tommy and Alex end up. Once we get there the movie becomes interesting because Cates understands the game and its dramas a lot better than he understands people and theirs.
    • 57 Metascore
    • 50 Wesley Morris
    Is a truly political stoner movie even possible? The entire point of getting high is to take some of the sting out of life. The movie goes after easy targets and goes soft on the harder issues.
    • 54 Metascore
    • 50 Wesley Morris
    Formally, the effect is like watching really cinematic confetti.
    • 61 Metascore
    • 50 Wesley Morris
    Gordon made similar lurches all over the map in his previous exercise in grotesquerie, "Edmond," which was based on a David Mamet play and starred William H. Macy as, of all things, a racist misogynist on a grisly bender. Stuck could have used some of that outrageousness.
    • 49 Metascore
    • 50 Wesley Morris
    Once the vulgar comedy dissipates, we're left with poorly photographed, bullet-riddled summer-action mayhem. The only thing drunker than Hancock is the editing and camerawork.
    • 72 Metascore
    • 50 Wesley Morris
    Unfortunately, there's never a moment where you can't see Anderson and his co-writer, Will Conroy, yanking on the strings.
    • 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!
    • 64 Metascore
    • 50 Wesley Morris
    The film plays fast and loose with the book, until its emotional depths, spiritual conflicts, and Waugh's discreet humor have been wrung out.
    • 25 Metascore
    • 50 Wesley Morris
    It's a self-amused, self-conscious, seriously limp throwback to motorcycle westerns of the 1970s.
    • 56 Metascore
    • 50 Wesley Morris
    The film has a habit of cutting away from interviews for Maher's commentary during the drive to the next location. You can see him trying to work the car for a laugh.
    • 39 Metascore
    • 50 Wesley Morris
    Once a hurricane blows Gere and Lane into each other's arms, all the director's tasteful style and good sense turn into mush. Given the material, I suppose it has to.
    • 37 Metascore
    • 50 Wesley Morris
    Miracle at St. Anna is not work of outrage or joy. It's something distressingly new for the filmmaker: a work of obligation. It feels like a movie Lee made in order to say he did it.
    • 58 Metascore
    • 50 Wesley Morris
    This movie is especially egregious since it bundles the civil rights era, garden-variety bigotry, and the achievements of Ernie Davis, the first African-American to win the Heisman Trophy.
    • 51 Metascore
    • 50 Wesley Morris
    This is territory previously covered in the French film "Ma Vie en Rose," which took a relatively more sophisticated view of both a child's self-expression and adults' discomfort over it.
    • 63 Metascore
    • 50 Wesley Morris
    As Changeling strains toward its mawkishly optimistic conclusion, the old-fashioned moviemaking that Eastwood settled into doesn't suit either him or his star. It feels like a corny joke.
    • 49 Metascore
    • 50 Wesley Morris
    There are two reasons to put up with Soul Men, and that's the soul men themselves. Samuel L. Jackson and Bernie Mac appear to be having a good time, and for most of this raunchy, poorly orchestrated buddy comedy, that's enough.
    • 63 Metascore
    • 50 Wesley Morris
    Eden is "Once" after two kids and 10 years of marriage have sucked the music out of life.
    • 38 Metascore
    • 50 Wesley Morris
    If Crossing Over is less self-congratulatory than "Crash" about confronting its designated problem, it's just as inept at dramatizing the complex ways that problem unites and divides us. Here every cause is something you can wear around your neck.
    • 28 Metascore
    • 50 Wesley Morris
    Guy Ritchie made a name for himself with scuzz, but even his shtick has exceeded its sell-by date. Nobel Son goes further, crossing the contortions of "The Usual Suspects" with the shallowness of certain intellectual family melodramas.
    • 58 Metascore
    • 50 Wesley Morris
    After a sensuous introductory act, The Reader descends into a series of dismaying contradictions regarding the moral toxins of the Holocaust - which still pollute postwar Germany.
    • 27 Metascore
    • 50 Wesley Morris
    Delgo demonstrates how hard it is to create a memorable, credible-looking piece of animated entertainment.
    • 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.
    • 36 Metascore
    • 50 Wesley Morris
    I'd like to make a 911 call myself: Lord, please stop this increasingly fine actor (Smith) from climbing onto another cross.
    • 33 Metascore
    • 50 Wesley Morris
    The appeal of Bedtime Stories belongs entirely to Sandler. As a comedian, he doesn't have to stoop to a kid's level. He's usually already there.
    • 43 Metascore
    • 50 Wesley Morris
    A thriller whose title remains printable only because the right people probably don't know that it refers to a violent sex act.
    • 40 Metascore
    • 50 Wesley Morris
    By taking nonsense seriously Outlander never achieves camp. It's a comic book that's mistaken itself for scripture.
    • 50 Metascore
    • 50 Wesley Morris
    There is, however, Viola Davis, who might win an Oscar tomorrow for her one scene in "Doubt." Her part here - a minister combing the street for crack-whores to rescue - is about three times as large.
    • 42 Metascore
    • 50 Wesley Morris
    Like the current hit "Taken," Last House 2009 packs a vicarious jolt that might feel cathartic to certain moviegoers.
    • 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.
    • 48 Metascore
    • 50 Wesley Morris
    Watching what Howard has done with the book - covering up the lewdness, blunting the snobbery, and spackling the amazing plot holes - is dismaying. This adaptation has the stink of superiority about it.
    • 45 Metascore
    • 50 Wesley Morris
    By 2009, the franchise has nothing new to offer. The culture, through video games and reality television, has caught up to the series and surpassed it.
    • 63 Metascore
    • 50 Wesley Morris
    This is an old man's movie, without an old man's experience. Despite McGinly's stated affection for Kreskin (the movie ends with a written appreciation of him), there's nothing personal about it. It's the movie equivalent of handing us a business card.
    • 76 Metascore
    • 50 Wesley Morris
    Harmless enough, but "indie comedy" sounds like something better seen at Urban Outfitters than at a movie theater.
    • 47 Metascore
    • 50 Wesley Morris
    Miley may vacillate, but for now her indentured servitude to Disney continues. The image that comes to mind is Princess Leia chained to Jabba the Hutt, but that's probably just me.
    • 56 Metascore
    • 50 Wesley Morris
    American Violet feels less like life and unreasonably more like the movies.
    • 34 Metascore
    • 50 Wesley Morris
    The problem with the new movie is the same as with the previous one. Vardalos has this idea that she's a marm. And while it's true that she personifies her movies, I don't quite buy her librarian mode.
    • 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.
    • 54 Metascore
    • 50 Wesley Morris
    Eddie Murphy in another mediocre family comedy? Imagine that.
    • 68 Metascore
    • 50 Wesley Morris
    This movie wants to cover every base without thinking very deeply about them. So while a lot of ground is covered in 80 brisk minutes, the information presented is only abstractly useful.
    • 50 Metascore
    • 50 Wesley Morris
    Director Nowrasteh seems to think the only way to save lives is to sensationalize death. You could trek to the theater and have this movie whack you upside the head. You could also just mail a check for $10 to the human rights group of your choice.
    • 54 Metascore
    • 50 Wesley Morris
    Brüno is what "Borat’" was too well-done to be: a publicity stunt about publicity stunts.
    • 39 Metascore
    • 50 Wesley Morris
    You put up the cash, the movie clunks.
    • 56 Metascore
    • 50 Wesley Morris
    Is a man with Asperger’s boyfriend material? It’s difficult to determine how we wind up here, but it’s strange that a movie ostensibly about a man and his lack of social options left me depressed about a woman and hers.
    • 57 Metascore
    • 50 Wesley Morris
    A richer movie might speculate on McGartland’s life now. How does a local hero survive in an anonymous void?
    • 62 Metascore
    • 50 Wesley Morris
    The movie has a jolly, half-remembered quality, as though it were adapted from a particularly rose-colored memoir.
    • 58 Metascore
    • 50 Wesley Morris
    This is a corny tale, told with both generous helpings of deli-sliced cheese and a brief stretch of chilling tumultuousness.
    • 61 Metascore
    • 50 Wesley Morris
    All we have here are bits, so many, in fact, that Extract’ feels more like a collection of crumbs.
    • 44 Metascore
    • 50 Wesley Morris
    If we learn nothing else about Krasinski as a filmmaker, it’s that he thinks more is more.
    • 64 Metascore
    • 50 Wesley Morris
    Well-meaning but trying documentary.
    • 47 Metascore
    • 50 Wesley Morris
    The mix of mawkishness and polemic is naive. Children, though, will probably leave with a lot of good questions. A better movie would leave them with more.
    • 49 Metascore
    • 50 Wesley Morris
    New York, I Love You wants us to know that the city is a sexy, romantic, thrillingly random place where anything can go down. Sadly, two of those things are your eyelids.
    • 47 Metascore
    • 50 Wesley Morris
    Once it’s clear the movie won’t be deviating at all from its formula, Frank’s journey gets tedious.
    • 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.
    • 42 Metascore
    • 50 Wesley Morris
    This is the sort of asinine action exercise that needs a star to blow up cars and leap from rooftop to rooftop with gusto.
    • 47 Metascore
    • 50 Wesley Morris
    Very little of it is as persuasive or enveloping as its beloved English counterpart. But it works very hard to distract 11-year-olds from thinking about the November arrival of “The Deathly Hallows.’’
    • 74 Metascore
    • 50 Wesley Morris
    The characters are intended to be slightly stupid, but the writing isn’t necessarily smarter.
    • 31 Metascore
    • 50 Wesley Morris
    Cop Out seems aptly named. It’s not personal. It’s barely even a movie. It’s a fire hydrant that the director and his stars use for exterior shots.
    • 32 Metascore
    • 50 Wesley Morris
    There is a mild pleasure in the sight of Jude Law pirouetting with a hacksaw through gangs of extras, but the amusement is notional. I actually don’t find him terribly interesting as a kinetic object.
    • 47 Metascore
    • 50 Wesley Morris
    Well-meant though it may be, the movie has an advertorial gloss.
    • 33 Metascore
    • 50 Wesley Morris
    A more convincing star could make this a degree more tolerable, although in Cyrus’s defense not much more.
    • 50 Metascore
    • 50 Wesley Morris
    The only person in Don McKay having a better time than Shue is Melissa Leo, who plays Sonny’s insinuating housemate. She’s too much by half, in an Agnes Moorehead sort of way.
    • 56 Metascore
    • 50 Wesley Morris
    Date Night manages to live down to its store-brand title.
    • 54 Metascore
    • 50 Wesley Morris
    The movie has to twist your arm to get you to feel for these people. But you wouldn’t be wrong to think it’s been broken.
    • 59 Metascore
    • 50 Wesley Morris
    Actually, everything in Bowdon’s rant about America’s woeful public school system is important, including Bowdon.
    • 44 Metascore
    • 50 Wesley Morris
    The amusement it provides is cheap, disposable, and hardly worth the number of quarters you fed into the slot in a frenzy not to go home empty-handed.
    • 34 Metascore
    • 50 Wesley Morris
    Lopez smiles, whines, and blinks her way through this movie. She seems more relaxed than she ever has. And yet it seems like she’s hiding in romantic comedies, lest we discover that she doesn’t have a “Monster’s Ball’’ or even a “Blind Side’’ in her.
    • 33 Metascore
    • 50 Wesley Morris
    The only thing sadder than Jonah Hex is what appears to have happened to his movie.
    • 30 Metascore
    • 50 Wesley Morris
    In Sandler's movies, men don't cry; they urinate. So the scene in which the stars empty their bladders and change the color of a swimming pool's water might be the weepiest of the year.
    • 43 Metascore
    • 50 Wesley Morris
    Little of the fragile wisdom with which García Márquez imbued that idea has survived this timid Hollywood treatment.
    • 65 Metascore
    • 50 Wesley Morris
    Jolie doesn't seem entirely bored with the routine. She has a laugh or two at her bionic image: Evelyn is a woman who uses a maxi pad as a bandage.
    • 58 Metascore
    • 50 Wesley Morris
    These movies are more about the experience of hearing girls and women who should know better holler at the screen. They could just as well be at a concert.
    • 47 Metascore
    • 50 Wesley Morris
    Perrier’s Bounty is all stock material, full of characters that deserve more than the cliched shootouts and showdowns that befall them. Even the movie’s most natural impulses seem to come from a can.
    • 46 Metascore
    • 50 Wesley Morris
    A flavorless family-friendly action-adventure that doubles as memory exploitation. It has nothing to do with either the Mickey Mouse broom sequence of the same name from 1940's "Fantasia'' or the 213-year-old Goethe poem that inspired it.
    • 36 Metascore
    • 50 Wesley Morris
    Directed by F. Gary Gray and written by Christian Gudegast and Paul T. Scheuring, the movie isn't even worthy of former NFL linebacker turned straight-to-video action figure Brian Bosworth.
    • 70 Metascore
    • 50 Wesley Morris
    An earnest, alarmist new docu-plea for nuclear disarmament, concludes with an orgy of such destruction. Mushroom clouds. Infernal white light. Obliterating energy blasts. It's all here, and mostly beyond the pale.
    • 68 Metascore
    • 50 Wesley Morris
    What the writer and director, Lance Daly, means as some kind of transporting urban adventure for them is a disenchanting slog for us.
    • 55 Metascore
    • 50 Wesley Morris
    One wants to find enlightenment - or at least entertainment - in this reconsideration of Playboy and of Hefner. But it's tainted.
    • 52 Metascore
    • 50 Wesley Morris
    The romantic comedy has never had a star as depressing as Jennifer Aniston. It's not the movies - well, it isn't simply the movies.
    • 67 Metascore
    • 50 Wesley Morris
    Cairo Time is a kind of bourgeois delusion. It's authentically aggravated but bogusly conceived.
    • 61 Metascore
    • 50 Wesley Morris
    The film is overripe with erotic symbols.
    • 59 Metascore
    • 50 Wesley Morris
    This is a movie whose cynicism in the name of idealism might have appealed to Billy Wilder.
    • 43 Metascore
    • 50 Wesley Morris
    It's hard to care about people this generic - even when they're naked.
    • 51 Metascore
    • 50 Wesley Morris
    Shopworn to the bone.
    • 65 Metascore
    • 50 Wesley Morris
    Buried works better as an evocation of "Twilight Zone'' eeriness. Even then, it's silly and gimmicky.
    • 60 Metascore
    • 50 Wesley Morris
    This native send-off is robotic enough to leave you eager to see what an artist might do with a reboot.
    • 53 Metascore
    • 50 Wesley Morris
    The Dawn Treader, like its predecessors, has no real struggle or drama. We're dealing with kids for whom everything comes too easily for us to care.
    • 37 Metascore
    • 50 Wesley Morris
    A slow and silly action-comedy romantic-thriller.
    • 51 Metascore
    • 50 Wesley Morris
    A rather pat, occasionally desperate road comedy.
    • 49 Metascore
    • 50 Wesley Morris
    Tron: Legacy gives us a dud stud named Garrett Hedlund as Sam Flynn, the hero of this petrified sequel to 1982's "Tron." None of what he sees impresses. The feeling is mutual.
    • 67 Metascore
    • 50 Wesley Morris
    I can't say why Coppola wanted to spend time with this man. It's like following someone on Twitter who fails to generate many compelling tweets.
    • 81 Metascore
    • 50 Wesley Morris
    All the movie's good style goes to waste on a not terribly compelling conceit and loosely sketched characters.
    • 45 Metascore
    • 50 Wesley Morris
    Paltrow makes the part look natural. She's not impersonating an actual singer, so she seems merely like a twangy, alcoholic version of herself. She should be stopped from dancing in enormous arenas, but her thin voice is rather pretty.
    • 55 Metascore
    • 50 Wesley Morris
    Part of the trouble is casting. This is a movie that needs a great or gonzo performer to give it depth or heft.
    • 60 Metascore
    • 50 Wesley Morris
    Whether this movie works for you largely depends on whether you're willing to work for it. To which I say: Bring your gym clothes.
    • 67 Metascore
    • 50 Wesley Morris
    But that ending is a whopper all the same: a heartless blast of tragedy, exploitation, amusement, and general flagrance.
    • 64 Metascore
    • 50 Wesley Morris
    Canner is either overwhelmed by so much impressive access to so many alarming business opportunities or lacking the investigative rigor to drive home the moral problems of these drugs and the existential problems of these women.
    • 45 Metascore
    • 50 Wesley Morris
    The movie is generic and shallow in its glimpse of the love and sex lives of a handful of young New Yorkers.
    • 38 Metascore
    • 50 Wesley Morris
    Shadyac doesn't film how his change inspires more change, or showing him, say, starting a school for destitute orphans. All we see him give is this movie. It's not much of a contribution.
    • 36 Metascore
    • 50 Wesley Morris
    The new remake of Arthur is a thin copy of the 1981 original. But it has a few things going for it.
    • 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.
    • 52 Metascore
    • 50 Wesley Morris
    The camera, costumes, and art direction do everything right. Too much so. The movie strips away both the grand weirdness of the circus and the dire desolation of the Depression. Diane Arbus and Dorothea Lange are exchanged for Vanity Fair.
    • 60 Metascore
    • 50 Wesley Morris
    The most provocative thing about The Beaver is the adult-movie title. The film itself is alternately fascinating and dull, though mostly the latter.
    • 50 Metascore
    • 50 Wesley Morris
    It's the sort of movie that thinks cutting between two different stories makes it art. Usually, it feels like an exercise in art. There's a lot of calisthenics but very little beauty or truth or whatever it is the movie is going for.
    • 37 Metascore
    • 50 Wesley Morris
    Mosteller might be the movie's real discovery. He twists his lisp and slurry speech around the dialogue in a way that exudes far less attitude than the kids.
    • 53 Metascore
    • 50 Wesley Morris
    This is a flavorless adaptation of Richard and Florence Atwater's 73-year-old children's book.
    • 42 Metascore
    • 50 Wesley Morris
    He concocts a climactic war that flattens downtown Chicago. Bay is such a little boy's director. You know he picked that city because it's the one with the best rock-'em-sock-'em street names. Wacker! Wabash!
    • 41 Metascore
    • 50 Wesley Morris
    Larry Crowne isn't a movie for adults. It's a movie for adults who don't like things with screens and keyboards.
    • 42 Metascore
    • 50 Wesley Morris
    It's hard to tell whether this is a tribute to female solidarity or a lamentation.
    • 52 Metascore
    • 50 Wesley Morris
    Bring Wet-Naps to The Devil's Double. It's coated and fried in the same batter KFC uses for Extra Crispy chicken. The movie might be greasier, actually.
    • 49 Metascore
    • 50 Wesley Morris
    The crime is appallingly petty. But occasionally the friction between two actors' idiocy will produce a comic spark.
    • 52 Metascore
    • 50 Wesley Morris
    Chasing Madoff is mostly that sort of movie, the kind you make when all you've seen is other movies and television shows about crime, when you want someone to know what you can do with a juicy story that takes some effort to ruin.
    • 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.

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