For 1,500 reviews, this critic has graded:
  • 51% higher than the average critic
  • 2% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 0.8 points higher than other critics. (0-100 point scale)

Wesley Morris' Scores

  • Movies
Average review score: 60
Highest review score: 100 There Will Be Blood
Lowest review score: 0 P2
Score distribution:
1,500 movie reviews
    • 63 Metascore
    • 75 Wesley Morris
    The Signal is like a Romero zombie movie in which the zombies aren't dead, they're just really temperamental. Evil here is technology-born. Maybe our cellphones and satellite dishes are giving us all the crazy.
    • 71 Metascore
    • 75 Wesley Morris
    The title is Portuguese for "send a bullet" and the clever American tag line is "the rich steal from the poor; the poor steal the rich."
    • 60 Metascore
    • 75 Wesley Morris
    Garlin's movie is beautiful in its own way. It also suggests that David's show would still be brilliant without the aggravation. I'm not saying that David should renounce misanthropy. But maybe he could curb less of Garlin's apparent enthusiasm for people.
    • 59 Metascore
    • 75 Wesley Morris
    The movie's climactic car chase is as absurdly thrilling as it is innovative. Set almost silently in a blue-gray daytime downpour, it has a tough, improvisatory danger that makes the movie. If John Coltrane went in for action sequences, he'd have dug this one.
    • 42 Metascore
    • 75 Wesley Morris
    Fred Claus sells you something you didn't know you wanted: a Vince Vaughn Christmas movie. Vaughn is not the hook. Neither is the holiday. The script, by Dan Fogelman, is smarter than that.
    • 75 Metascore
    • 75 Wesley Morris
    The sight of Adams gliding and beaming and chirping in this movie - a self-mocking cartoon that transforms into an inspired live-action musical farce - is just about the happiest time I've had watching an actor do anything all year.
    • 65 Metascore
    • 75 Wesley Morris
    It's neither a neat little allegory about faith nor a transcendently entertaining one. I Am Legend is actually about the last man on earth played by one of the last real movie stars on earth. To be honest, Smith was all I was thinking about while I sat through I Am Legend.
    • 65 Metascore
    • 75 Wesley Morris
    For a film about the power of speech, it's the quiet moments of rapture that say everything.
    • 49 Metascore
    • 75 Wesley Morris
    The movie is actually a softer treatment of the similar sibling anguish in Sidney Lumet's "Before the Devil Knows You're Dead." Allen isn't enough of a great dark artist to pull off a full-scale tragedy the way Lumet does.
    • 63 Metascore
    • 75 Wesley Morris
    The first 30 or so minutes of Walk Hard: The Dewey Cox Story condense the entire Hollywood biopic genre into a sweet chewable tablet. It's the Flintstones vitamin of spoofs.
    • 67 Metascore
    • 75 Wesley Morris
    It really only comes alive in its shots of people in the neighborhood sitting around their television sets. What we're really talking about here is a problem in scope. In Hamburger's film, the world is no bigger than a cup.
    • 83 Metascore
    • 75 Wesley Morris
    Slight but fascinating.
    • 51 Metascore
    • 75 Wesley Morris
    Marshall reveals himself to be a terrific showman of chaos and comic savagery. This is Baz Luhrmann's "Mad Max."
    • 71 Metascore
    • 75 Wesley Morris
    Ripe, ferociously acted comic drama.
    • 44 Metascore
    • 75 Wesley Morris
    A surprisingly effective little horror nightmare.
    • 55 Metascore
    • 75 Wesley Morris
    In this era of Apatow and Ferrell and Rogen and Wilson, of men monopolizing movie comedy, Baby Mama feels absurdly momentous, and even political. Fey and Poehler aren't just taking back control of their bodies. They're taking back control of their profession.
    • 53 Metascore
    • 75 Wesley Morris
    Korine is finding his way toward artistic greatness by searching his soul. It's possible that the man in the mirror is him.
    • 72 Metascore
    • 75 Wesley Morris
    The movie feels exhaustive in its loaded 90-something minutes, showing and telling us much while leaving the meaning of the tangles and twists in this family open to interpretation. For once, the tip of the iceberg is enough.
    • 54 Metascore
    • 75 Wesley Morris
    Nothing has brought me more cheap pleasure at a movie this year than the sight of shampoo and conditioner bottles falling off a rocking wall while comedian Alec Mapa, as a fellow stylist, tries to keep a straight face. He does a much better job than I did.
    • 74 Metascore
    • 75 Wesley Morris
    Even at the movie's most ridiculous (and Mongol is not without its ridiculous moments), this is a picture you laugh with more than laugh at.
    • 52 Metascore
    • 75 Wesley Morris
    Argento set a standard a lot of moviemakers are desperate to surpass. It's not simply that he's crazy about gore and supernatural hokum. It's that he understands that storytelling is both an art and a craft. His filmmaking carries you along on the illusion of effortlessness; amusement, suspense, a certain elegance follow.
    • 63 Metascore
    • 75 Wesley Morris
    This is moviemaking that honors the craftsmanship of its subject.
    • 71 Metascore
    • 75 Wesley Morris
    Despite its contradictions, the film stayed with me after I left the theater. It's frivolous. But it's also powerfully surreal.
    • 69 Metascore
    • 75 Wesley Morris
    In American movies, the iconic question usually is, can men and women be friends without the sex part getting in the way? Here it's, can a husband appreciate his wife as a woman? The movie's success in Italy is partly a matter of frustration: Women need their men to grow up.
    • 64 Metascore
    • 75 Wesley Morris
    A warmly made, slightly offbeat movie about friendly devotion. It also happens to be a western, and every man in it is grizzled or wizened or both.
    • 57 Metascore
    • 75 Wesley Morris
    On screen something happens that goes beyond Monk's powers of description and Fanning's way of seeming 14 and 44 at the same time.
    • 45 Metascore
    • 75 Wesley Morris
    A perversely enjoyable, occasionally harrowing adaptation of José Saramago's 1995 disaster allegory.
    • 78 Metascore
    • 75 Wesley Morris
    The longer the film goes on, the more you crave a vaster history of modern Liberia, originally a colony founded by former slaves from the United States.
    • 68 Metascore
    • 75 Wesley Morris
    Vigalondo is only partially capable of building suspense (the film's latter stages contain one knot too many); his achievement owes more to his imagination than his pop craftsmanship.
    • 67 Metascore
    • 75 Wesley Morris
    This stuff is clever, in the reflexively satirical, self-aware way that many animated films are. It's not until the dog is accidentally shipped off to New York City that the movie lets you in on an altogether more interesting idea: It doesn't want to be that cool.