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 Fast Food Nation
Lowest review score: 0 The Devil Inside
Score distribution:
1,825 movie reviews
    • 78 Metascore
    • 100 Wesley Morris
    Her (Anderson) performance is a study in the difference between hubris and pride, remarkable for how unshowy but profoundly devastating it is.
    • 75 Metascore
    • 100 Wesley Morris
    A further, captivating extension of Oshima's marriage of the oblique and the erotic.
    • 83 Metascore
    • 100 Wesley Morris
    There's a seething moral core in Amores Perros that uses the canine savagery as an entre to human brutality.
    • 79 Metascore
    • 100 Wesley Morris
    A vicious horror flick with an actual beast and someone who just acts like one.
    • 70 Metascore
    • 100 Wesley Morris
    Turns into something like a screwball farce, an intimate, self-aware one.
    • 73 Metascore
    • 100 Wesley Morris
    Makes a term like neo-noir seem like a fatuous catch phrase.
    • 46 Metascore
    • 100 Wesley Morris
    It's the year's best movie sex.
    • 70 Metascore
    • 100 Wesley Morris
    Meanders around Holly Springs, Mississippi, with the fuzzy benevolence of a Hallmark Hall of Fame presentation.
    • 68 Metascore
    • 100 Wesley Morris
    Gets diagnosably schizo.
    • 83 Metascore
    • 100 Wesley Morris
    With Election, Payne announces himself as one of the keenest purveyors of the scattered pieces that once was an American morality.
    • 76 Metascore
    • 100 Wesley Morris
    Ethereal.
    • 91 Metascore
    • 100 Wesley Morris
    Elegant.
    • 86 Metascore
    • 100 Wesley Morris
    A momentously, shockingly moving fit of shape-shifting by a filmmaker grown tired of the macabre.
    • 52 Metascore
    • 100 Wesley Morris
    So phenomenal that Bill Murray can't even steal it. And he tries. So excellent that Murray's MTV progeny Tom Green can't sink it.
    • San Francisco Examiner
    • 76 Metascore
    • 100 Wesley Morris
    It's that rare movie with a sense of timeliness that is eternal, and a protagonist whose soul-crushed angst, even at its most fatal, speaks to the little boy/girl lost in everyone.
    • 77 Metascore
    • 100 Wesley Morris
    Spellbinding.
    • 90 Metascore
    • 100 Wesley Morris
    It's the film we leave most movie theaters wishing we'd seen instead.
    • 88 Metascore
    • 100 Wesley Morris
    It's a glimmering hunk of fractured brilliance riddled with Orwellian paranoia encased in a production design seemingly pieced together from the shared dreams of Franz Kakfa and Salvador Dali, and shot from cruelly low angles.
    • 89 Metascore
    • 100 Wesley Morris
    Part aerobics workout, part self-styled dreamscape, Sense is a hyperactive piece of performance art that begins as the stripped-down dress rehearsal of a garage band and builds into a mighty, exhausting spectacle that shakes as much ass as it kicks. [Review of re-release]
    • 84 Metascore
    • 100 Wesley Morris
    Guy Maddin is a scholar, poet, prankster, and ferociously devoted classicist who likes to resurrect dead cinemas and deader directors and make them vital all over again.
    • 86 Metascore
    • 100 Wesley Morris
    Who most of these exquisitely costumed people are I have no idea, but they brush past the camera in such rapids of jubilation it's a wonder they don't knock the thing over. I watched most of the film exhilarated, but depressed that I'm not a big Russophile.
    • 86 Metascore
    • 100 Wesley Morris
    Ten
    The new Abbas Kiarostami film is called Ten, and in it something amazing happens: nothing.
    • 72 Metascore
    • 100 Wesley Morris
    A deep, exhaustive, and moving piece of do-it-yourself detective work.
    • 83 Metascore
    • 100 Wesley Morris
    Like no movie before it, Adaptation risks everything -- its cool, its credibility, its very soul -- to expose the horror of making art for the business of entertainment.
    • 84 Metascore
    • 100 Wesley Morris
    This is a love letter from one auteur to another that doesn't feel like a term paper. Instead, Far From Heaven is an honest-to-God drama with resonance all its own.
    • 87 Metascore
    • 100 Wesley Morris
    Nothing momentous happens here, but Philibert has a magical sense of how to find the simple poetry lurking in the universal routine of being a kid. A lot of the film's lyricism is extracurricular.
    • 69 Metascore
    • 100 Wesley Morris
    The worst thing about the first Quentin Tarantino picture in five years is that after 93 minutes of some of the most luscious violence and spellbinding storytelling you're likely to see this year, Kill Bill ends.
    • 70 Metascore
    • 100 Wesley Morris
    The atmosphere is hypo-stylized, vividly generic and worse than real, like a doomy Frederick Wiseman documentary.
    • 81 Metascore
    • 100 Wesley Morris
    This is the first beautiful performance in the year's first great movie.
    • 93 Metascore
    • 100 Wesley Morris
    Freshly viewed, the movie's melancholy seems to fit uncannily well in the moment we find ourselves now. In the film there are mentions of nuclear annihilation and worries that heedless lust and wanton partying could bring Rome a second fall.

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