Wesley Morris
Select another critic »
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 Stone Reader
Lowest review score: 0 Saving Silverman
Score distribution:
1,825 movie reviews
    • 43 Metascore
    • 50 Wesley Morris
    Little of the fragile wisdom with which García Márquez imbued that idea has survived this timid Hollywood treatment.
    • 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
    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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 27 Metascore
    • 50 Wesley Morris
    Delgo demonstrates how hard it is to create a memorable, credible-looking piece of animated entertainment.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 39 Metascore
    • 50 Wesley Morris
    You put up the cash, the movie clunks.
    • 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?
    • 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.
    • 64 Metascore
    • 50 Wesley Morris
    Well-meaning but trying documentary.
    • 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.
    • 50 Metascore
    • 50 Wesley Morris
    Less like watching a movie than it is like being accosted by one.
    • 36 Metascore
    • 50 Wesley Morris
    It's too long and self-consciously progressive to be entertaining, but it's too well-intentioned to be dismissed altogether.
    • 49 Metascore
    • 50 Wesley Morris
    As insulting as taking the queen to the Olive Garden.
    • 51 Metascore
    • 50 Wesley Morris
    More vulgar than funny.
    • 53 Metascore
    • 50 Wesley Morris
    Crime-by numbers-cop drama.
    • San Francisco Examiner
    • 47 Metascore
    • 50 Wesley Morris
    The film has a persuasive murkiness and one extended mythopoetic final sequence that's almost moving in its silence.
    • 45 Metascore
    • 50 Wesley Morris
    Mediocre-TV-drama-load of formulas.
    • 61 Metascore
    • 50 Wesley Morris
    As innocuous as the love songs on its soundtrack.
    • 43 Metascore
    • 50 Wesley Morris
    A laughably disconnected hostage drama that rails against the perceived nightmare of inner-city public schools.
    • 33 Metascore
    • 50 Wesley Morris
    There's more gymnastic yammering in Loving Jezebel than in a season of "Dawson's Creek."
    • 46 Metascore
    • 50 Wesley Morris
    Determined to try your patience, asking you to fall in love with it.
    • 38 Metascore
    • 50 Wesley Morris
    Rossellini doesn't do much more than show up and be a hundred kinds of ravishing. Yet there's a movie in her ageless face and that untamed bouffant.
    • 48 Metascore
    • 50 Wesley Morris
    For a little while, comedy ensues.
    • 51 Metascore
    • 50 Wesley Morris
    A lazy, torpid piece of animated tourism.
    • 58 Metascore
    • 50 Wesley Morris
    Brown Sugar fails to produce an image of hip-hoppery as fascinating and complex as the moment when Halle Berry set her tongue wagging during a ghetto-fabulous grind with Warren Beatty in ''Bulworth.''
    • 42 Metascore
    • 50 Wesley Morris
    Reinforcing the chasm between movie magic and wishful thinking.
    • San Francisco Examiner
    • 28 Metascore
    • 50 Wesley Morris
    Timely in that it joins an already mammoth list of bad movies about post-hippie static, including the recent "Steal This Movie."
    • 76 Metascore
    • 50 Wesley Morris
    It's scant to the point of irrelevance.
    • 41 Metascore
    • 50 Wesley Morris
    Often grating in its presentation.
    • 34 Metascore
    • 50 Wesley Morris
    Feels like an interminable pilot for a show to fill that deadly 8:30 slot between "Friends" and "Will and Grace."
    • 56 Metascore
    • 50 Wesley Morris
    Particularly anticlimactic - the film itself seems sprung from molting yuppie catalogs.
    • San Francisco Examiner
    • 52 Metascore
    • 50 Wesley Morris
    If I wanted a Nora Ephron cuddle-ganza, I'd rent one.
    • San Francisco Examiner
    • 58 Metascore
    • 50 Wesley Morris
    There are moments when Hill and Giler dare to turn Undisputed into an episode of ''Oz'' - albeit an insipid, belligerence-, and sex-free episode.
    • 55 Metascore
    • 50 Wesley Morris
    Like an ''Afterschool Special'' with costumes by Gianni Versace, Mad Love looks better than it feels.
    • 42 Metascore
    • 50 Wesley Morris
    Blakeney can't decide if this is a quirky romantic comedy or a quirky mob essay, and you can see the movie thinking itself into a rhythmless hole with cement shoes.
    • 63 Metascore
    • 50 Wesley Morris
    Generates very little heat.
    • San Francisco Examiner
    • 78 Metascore
    • 50 Wesley Morris
    Watching the uncertain and disappointing new apartheid documentary Amandla! A Revolution in Four-Part Harmony'' is like going to the lecture of an impassioned but really disorganized professor.
    • 47 Metascore
    • 50 Wesley Morris
    What should have been 90 zippy minutes of jingling, giggling, winking fakery adds up to only about 20 minutes of fun.
    • 48 Metascore
    • 50 Wesley Morris
    The laserdisc of media movies - it plays fine, but it's clunky and cumbersome.
    • 46 Metascore
    • 50 Wesley Morris
    If you want to watch a gaggle of pretty faux-neurotic people hang out and throw quips, you're probably better off watching "Friends."
    • 44 Metascore
    • 50 Wesley Morris
    As cosmetically sanitized revisions of history go: This is as good as it gets.
    • 74 Metascore
    • 50 Wesley Morris
    What remains is Washington's volcanic and contemplative work at the core of a film packed to the rafters with raging bull.
    • 24 Metascore
    • 50 Wesley Morris
    Fails to be the histrionic bubble bath that you want to carry you away.
    • San Francisco Examiner
    • 13 Metascore
    • 50 Wesley Morris
    Latest Freddie Prinze Jr. vehicle stalls at on-ramp.
    • San Francisco Examiner
    • 40 Metascore
    • 50 Wesley Morris
    He doesn't just kill a good buzz. He bludgeons it.
    • 37 Metascore
    • 50 Wesley Morris
    The best and worst of old school -- retro but stale. Frankenheimer, along with Ben Affleck, donates what cool there is.
    • 59 Metascore
    • 50 Wesley Morris
    The World Is Not Enough, like a 19th version of anything, is inanely self-parodic. So much so that one wonders why Austin Powers need have bothered in the first place.
    • 33 Metascore
    • 50 Wesley Morris
    Frill-less almost to the point of minimalist, teary without being lachrymose, hers is a performance you'd think was great were the movie in a language you didn't understand.
    • 54 Metascore
    • 50 Wesley Morris
    Like a Bond picture with no spies or villains or car chases or gadgets or explosions.
    • 46 Metascore
    • 50 Wesley Morris
    The comedian's thankful willingness to do anything for Blue Streak...is its redeeming grace.
    • 45 Metascore
    • 50 Wesley Morris
    Studding your movie with friends, admirers, and sycophants is having a ball; it does not bring us to question the illusory power of cinema or the politics of entertainment.
    • 40 Metascore
    • 50 Wesley Morris
    More altruistic would be if Williams stopped torturing us with weepy endearments so he could look for that complex clown who used to mug just for laughs.
    • 45 Metascore
    • 50 Wesley Morris
    This is the kind of movie that mistakes heartbreak for being housebroken.
    • 56 Metascore
    • 50 Wesley Morris
    It's hard not to like a movie like Men of Honor, but it's entirely possible.
    • 18 Metascore
    • 50 Wesley Morris
    Even 007 is a big old queen. Yes, Roger Moore's on board as a lusty codger, who, unlike the rest of us, can't get enough of Sanz.
    • 57 Metascore
    • 50 Wesley Morris
    Somewhere in this movie, amid the ponderous exchanges and unfortunate O. Henry-style coincidences, there's American tragedy.
    • 19 Metascore
    • 50 Wesley Morris
    An archaic rail-ride into the heart of boredom.
    • 53 Metascore
    • 50 Wesley Morris
    A cheery version of a darker, grislier movie, one in which people like Daniel beat up people like Charlie, girls like Vicky end up in far more compromising positions, and women like Celia turn to Scotch and prescription drugs to cope with their pain.
    • 71 Metascore
    • 50 Wesley Morris
    Written in wisps and watery double-entendres by Heather McGowan and Niels Mueller, and the movie is so benign that its proceedings are beside the point.
    • 64 Metascore
    • 50 Wesley Morris
    Not entirely persuasive, not entirely schmaltzy, "The Tic Code" is one of those well-meant dramatizations... that mysteriously made it all the way to a theater near you.
    • 41 Metascore
    • 50 Wesley Morris
    Not the sweaty midnight stroll through the garden of carnal delights that its title wants you to believe.
    • 62 Metascore
    • 50 Wesley Morris
    Determined to be inoffensively tidy and cute above all else.
    • 63 Metascore
    • 50 Wesley Morris
    If it's difficult to find straight laughs in a colorblind prison movie (It's difficult enough to find a colorblind prison movie), finding straight laughs in a black one is almost impossible.
    • 59 Metascore
    • 50 Wesley Morris
    This is a movie about excess. It's excessively long (at least it feels that way), the slo-mo is used in excess (so are the swords), and our heroine, Yuki (Yumiko Shaku), when she does emote, is excessively weepy for a coldblooded assassin.
    • 45 Metascore
    • 50 Wesley Morris
    This movie is the worst episode of ''Gilmore Girls'' ever.
    • 49 Metascore
    • 50 Wesley Morris
    There's something wrong with this picture, and the problem is there on Smith's face -- Smith looks distressingly I-was-an-Oscar-nominee bored. That goes double for Jones.
    • 47 Metascore
    • 50 Wesley Morris
    Not particularly good -- meaning navigable, remotely entertaining, pleasing to the eye -- it does, rather nobly, want to hip its audience to gender fluidity.
    • 34 Metascore
    • 50 Wesley Morris
    It also goes out of its way to give you a schlocky B-movie vibe by wrangling bait in the form of a bunch of Big-Gulp stupid stock characters - that's a whopping 44 oz. more stupid than you probably were bargaining for.
    • 44 Metascore
    • 50 Wesley Morris
    Works as a quixotic study of emotional quirks.
    • 45 Metascore
    • 50 Wesley Morris
    For a movie with such a misplaced sense of history, The Scorpion King seems afraid to have more fun with its own stupidity.
    • 50 Metascore
    • 50 Wesley Morris
    The result is a cheap and cloying contraption that doesn't know when to stop smirking.
    • 47 Metascore
    • 50 Wesley Morris
    Uses lots of stock footage and takes looks back at America's big transitional period as though the era came in a can.
    • 44 Metascore
    • 50 Wesley Morris
    Its finest moments come in sequences such as Alice and Darlene's prison break and the girls' final wrenching plea for freedom.
    • 67 Metascore
    • 50 Wesley Morris
    Leans so heavily on its stars that their performances are marred by their emptiness.
    • 35 Metascore
    • 50 Wesley Morris
    An arthritic failure, genuine only when the two outcast lovers' eyes dart toward each other, then retreat.
    • 48 Metascore
    • 50 Wesley Morris
    Every minute of the film is trash, and director Carl Franklin seems to know it.
    • 45 Metascore
    • 50 Wesley Morris
    This is neither a psychological thriller nor an erotic one, so any interest in the story is purely the work of its stars.
    • San Francisco Examiner
    • 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.
    • 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.
    • 46 Metascore
    • 50 Wesley Morris
    An arcade game disguised as a love story, nearly comatose with cute.
    • 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.''
    • 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.
    • 64 Metascore
    • 50 Wesley Morris
    It's an exasperating exercise in B-movie hokum and screenwriter's gimmickry.
    • 61 Metascore
    • 50 Wesley Morris
    A shameless "Shawshank" redux.
    • 44 Metascore
    • 50 Wesley Morris
    Right up to its deliberate thud of a closer, Polanski had me.
    • 38 Metascore
    • 50 Wesley Morris
    Little Nicky is but a meek gross-out cousin of "The Waterboy."
    • 36 Metascore
    • 50 Wesley Morris
    It's often a lapsed, under-informed documentary with restagings.
    • 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
    Attempts none of the witty, provocative visual and metaphysical set pieces from any of the ''Nightmare'' movies. And it offers none of the real fright of the early ''Friday the 13th'' films. In fact, the movie is deeply, proudly unimaginative.
    • 46 Metascore
    • 50 Wesley Morris
    It's one TV-movie romp that Kristy McNichol never got around to starring in.
    • 48 Metascore
    • 50 Wesley Morris
    So much of Virgin is bunk masquerading as sexual politics.
    • 38 Metascore
    • 50 Wesley Morris
    As the eviscerations ensue, the truth becomes undeniable: This is easily the most gruesome, most pointless, episode of "Scooby Doo" ever.
    • 55 Metascore
    • 50 Wesley Morris
    It feels like a trumped up trifle, disinterested in narrative exercises, using instead technique (cinematography, editing and, omigod, a soundtrack!) to swing moods and heighten reality, then send it crashing to earth.
    • 63 Metascore
    • 50 Wesley Morris
    A feat of droll, refractive, melodramatic self-portraiture.
    • 68 Metascore
    • 50 Wesley Morris
    Implausibly dainty.
    • 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.
    • 38 Metascore
    • 50 Wesley Morris
    A tall glass of hogwash that's terrified to declare itself the racial-healing melodrama it is.
    • 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.
    • 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.
    • 36 Metascore
    • 50 Wesley Morris
    The movie is only sporadically interesting.
    • 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.
    • 27 Metascore
    • 50 Wesley Morris
    Doesn't have what it takes to be truly terrible.
    • San Francisco Examiner
    • 56 Metascore
    • 50 Wesley Morris
    It's fun, but the blatant, obvious kind that mistakes allusive cool for mature filmmaking and subtle ideasmanship.
    • 34 Metascore
    • 50 Wesley Morris
    The movie's not bad enough to be world-ending, merely clumsy.
    • 49 Metascore
    • 50 Wesley Morris
    An au natural (read: graphic) tryst-a-thon whose fashion sense is outweighed only by its bulky sexual intellectualism.
    • 40 Metascore
    • 50 Wesley Morris
    There's the world-alteringly scary possibility that (Leder) might be trying to kill us with a star-studded "After School Special."
    • San Francisco Examiner
    • 46 Metascore
    • 50 Wesley Morris
    Needs a gritty intervention.
    • 43 Metascore
    • 50 Wesley Morris
    Its commendable, if juvenile, sense of erogenous adventure is sullied by bland technique, canned suburban punk music, and the fact that all the exploration does amount to maturer characters.
    • 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.
    • 42 Metascore
    • 50 Wesley Morris
    Daredevil the movie strains itself trying to catch up with Sam Raimi's web-slinging megasmash. It's a faceless copy, right down to the muscle-rock groaning on the soundtrack.
    • 72 Metascore
    • 50 Wesley Morris
    If there's nothing here for romantics, there's even less for gourmands. Nettelbeck fails to produce a good food metaphor, let alone an impressive, palate-aching preparation montage
    • 44 Metascore
    • 50 Wesley Morris
    Walking Tall, which is credited to four different writers, is wanting for a reason to be.
    • 70 Metascore
    • 50 Wesley Morris
    The movie's afraid of [Stiles], turning Kat from riot grrrrl to Solid Gold dancer in the time it takes to drop one Notorious B.I.G. song at that house party - which is why it's the Spam of processed teen movies.
    • 68 Metascore
    • 50 Wesley Morris
    Hopped up on standard action riffs, most of the film feels like hand-me-downs purchased from the John Woo outlet.
    • 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.
    • 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.
    • 45 Metascore
    • 50 Wesley Morris
    Freeman and Hunter are both overqualified for material this ponderous, but she plays along, while he appears to have made a minimal emotional investment in the oncoming avalanche of coincidences and cliches.
    • 48 Metascore
    • 50 Wesley Morris
    It's a fact that becomes riotously evident in the reel of outtakes that caps the picture and incites wonder about why no one thought to give us 90 minutes of those instead.
    • 41 Metascore
    • 50 Wesley Morris
    In a sense, Sandler is damned if he develops, damned if he devolves. But he needn't apologize for being who he is by turning a goldmine sitcom into a tame "Baby Boom" for guys.
    • 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.
    • 70 Metascore
    • 50 Wesley Morris
    Long on mood and moodiness, but at a loss as how to break any interesting human ground.
    • 63 Metascore
    • 50 Wesley Morris
    The Patriot makes the Revolutionary War look like super-produced studio footage of the L.A. riots.
    • 52 Metascore
    • 50 Wesley Morris
    Narrated from start to close by an 8-year-old, it often seems like a coloring book on tape.
    • 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.
    • 49 Metascore
    • 50 Wesley Morris
    These are not the marks of true cinema; they're the makings of a droopy karaoke video.
    • 57 Metascore
    • 50 Wesley Morris
    The unworthy new Hollywood remake of Japan's horror phenomenon, ''Ring,'' has packed on a definite article and a whole lot of hooey.
    • 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.
    • 25 Metascore
    • 50 Wesley Morris
    Had Stealing Harvard merely been a stupid movie about people stuck in a string of silly moments, it could have gotten by on charm. As written by Peter Tolan and directed by Bruce McCulloch (''Kids in the Hall'') it's a stupid movie about stupid people.
    • 65 Metascore
    • 50 Wesley Morris
    For all the blathering, heavy-handed pathos, we might as well be watching the Lifetime cable channel.
    • 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.
    • 52 Metascore
    • 50 Wesley Morris
    Slow and ultimately distressing.
    • 58 Metascore
    • 50 Wesley Morris
    A limp excuse for a coming-of-age flick, more interested in sexploits than sex, more adept at gross-out than girls.
    • 49 Metascore
    • 50 Wesley Morris
    Notably Wayansless. It's also notably devoid of a point of view.
    • 27 Metascore
    • 50 Wesley Morris
    Too much of Taxi is just tired.
    • 63 Metascore
    • 50 Wesley Morris
    Despite the Gallic source material, what we truly have in Unfaithful is a tasteful, adult-contemporary ''Fatal Attraction'' redux, right down to the mister's Soho address and the happy family tucked away in the New York hinterlands.
    • 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.
    • 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.
    • 65 Metascore
    • 50 Wesley Morris
    Plays like a lost Rockford file.
    • 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.
    • 74 Metascore
    • 50 Wesley Morris
    The Others is great as a collection of acknowledgments, but a ghost story made of a bunch of ghoulish thank-yous isn't that haunting.
    • 49 Metascore
    • 50 Wesley Morris
    Takes a leaf from the "Psycho" handbook and abandons its star for stretches here and there.
    • 29 Metascore
    • 50 Wesley Morris
    A pure Frankenstein flick -- ugly, profane, terror-inducing, clumsy, nasty, desperate, stupid, contemptible, horny and brought to life by schlocky, shoddy science and an electric wish to prove that its makers still matter.
    • 37 Metascore
    • 50 Wesley Morris
    Part soap opera and part thriller, and it has the unique characteristic of being both undeveloped and overwritten.
    • 46 Metascore
    • 50 Wesley Morris
    Had Spacey made Beyond the Sea 10 or 15 years ago, it might have been close to transporting.
    • 44 Metascore
    • 50 Wesley Morris
    The director, Beeban Kidron, handles the proceedings with an episodic aimlessness on par with Bridget's.
    • 79 Metascore
    • 50 Wesley Morris
    Full of action, but no soul.
    • 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.
    • 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."
    • 47 Metascore
    • 50 Wesley Morris
    Silly to the last drop of rationed water.
    • 57 Metascore
    • 50 Wesley Morris
    Osmosis is really an occasion for the brothers to take their culture- debasing scatology to a PG crowd.
    • 33 Metascore
    • 50 Wesley Morris
    The movie's enthusiasm is as indelible and shiny as the lip gloss its star wears to bed.
    • 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.
    • 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.
    • 46 Metascore
    • 50 Wesley Morris
    An hour and a half of cultural and sexual headaches only barely leavened by MacLachlan's performance.
    • 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.
    • 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.
    • 42 Metascore
    • 50 Wesley Morris
    The absence of substance, or its banishment, and the director's reliance on allure (in the film's casting and in its look and sound, which features haunting music by Beethoven and Chopin), leave Innocence with the quasi-profound, giggly overreach of a magazine layout come to shameless, shallow life.
    • 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.
    • 33 Metascore
    • 50 Wesley Morris
    The only thing sadder than Jonah Hex is what appears to have happened to his movie.
    • 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.
    • 56 Metascore
    • 50 Wesley Morris
    Date Night manages to live down to its store-brand title.
    • 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.
    • 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.
    • 71 Metascore
    • 50 Wesley Morris
    Moreover, what the film lacks in temporal credibility, it amply makes up for in sheer rawness -- the rawness being literal.
    • 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.
    • 54 Metascore
    • 50 Wesley Morris
    The Treatment fails to do anything interesting with Jake.
    • 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.
    • 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.
    • 54 Metascore
    • 50 Wesley Morris
    Formally, the effect is like watching really cinematic confetti.
    • 62 Metascore
    • 50 Wesley Morris
    The movie has a jolly, half-remembered quality, as though it were adapted from a particularly rose-colored memoir.
    • 44 Metascore
    • 50 Wesley Morris
    If we learn nothing else about Krasinski as a filmmaker, it’s that he thinks more is more.
    • 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.
    • 74 Metascore
    • 50 Wesley Morris
    The characters are intended to be slightly stupid, but the writing isn’t necessarily smarter.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 65 Metascore
    • 50 Wesley Morris
    Buried works better as an evocation of "Twilight Zone'' eeriness. Even then, it's silly and gimmicky.
    • 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.
    • 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.
    • 67 Metascore
    • 50 Wesley Morris
    Cairo Time is a kind of bourgeois delusion. It's authentically aggravated but bogusly conceived.
    • 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.
    • 61 Metascore
    • 50 Wesley Morris
    The film is overripe with erotic symbols.
    • 51 Metascore
    • 50 Wesley Morris
    Shopworn to the bone.
    • 51 Metascore
    • 50 Wesley Morris
    A rather pat, occasionally desperate road comedy.
    • 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.
    • 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.
    • 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.
    • 37 Metascore
    • 50 Wesley Morris
    A slow and silly action-comedy romantic-thriller.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 53 Metascore
    • 50 Wesley Morris
    This is a flavorless adaptation of Richard and Florence Atwater's 73-year-old children's book.
    • 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
    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!
    • 49 Metascore
    • 50 Wesley Morris
    The crime is appallingly petty. But occasionally the friction between two actors' idiocy will produce a comic spark.
    • 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.
    • 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.
    • 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 generic and shallow in its glimpse of the love and sex lives of a handful of young New Yorkers.
    • 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.
    • 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.
    • 67 Metascore
    • 50 Wesley Morris
    But that ending is a whopper all the same: a heartless blast of tragedy, exploitation, amusement, and general flagrance.
    • 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.
    • 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.
    • 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.
    • 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
    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.
    • 42 Metascore
    • 50 Wesley Morris
    It's hard to tell whether this is a tribute to female solidarity or a lamentation.
    • 60 Metascore
    • 50 Wesley Morris
    There's too much narration and too many drug-movie cliches.
    • 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.
    • 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.
    • 44 Metascore
    • 50 Wesley Morris
    Killer Elite is based on a true story and about a half-dozen Jason Statham movies.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 45 Metascore
    • 50 Wesley Morris
    It's a stupid movie by smart people who aren't smart enough to realize it's stupid.
    • 45 Metascore
    • 50 Wesley Morris
    Come for the surfing. Stay for the sainthood.
    • 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.
    • 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.
    • 40 Metascore
    • 50 Wesley Morris
    The ending steals actionably from "The Blair Witch Project," the movie that helped spawn these first-person chillers.
    • 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.
    • 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.
    • 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?
    • 50 Metascore
    • 50 Wesley Morris
    This movie is the height of by-the-book dullness.
    • 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.
    • 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.