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

Wesley Morris' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 How to Survive a Plague
Lowest review score: 0 Saving Silverman
Score distribution:
1,825 movie reviews
    • 61 Metascore
    • 88 Wesley Morris
    Fighting has real grit and excellent acting. In other words, there is gold in that dirt.
    • 51 Metascore
    • 88 Wesley Morris
    Antal is a professional who respects your dollars. In a season where the blockbusters are as flat as month-old soda, that’s the most romantic gesture a commercial filmmaker can make.
    • 75 Metascore
    • 88 Wesley Morris
    "Angélica" feels most like the film that argues Oliveira is this close to the beyond without ever bothering to knock first at death's door.
    • 76 Metascore
    • 88 Wesley Morris
    Washington hasn't been this relaxed in years. When he feels like it he can be the most charismatic star in the movies.
    • 73 Metascore
    • 88 Wesley Morris
    A chillingly effective documentary.
    • 69 Metascore
    • 88 Wesley Morris
    Frankly, the story isn’t remotely as interesting as Cage. Nothing is. In Ferrara’s movie, Keitel emptied himself out. But there’s a hellion’s joy in Cage’s cop.
    • 60 Metascore
    • 88 Wesley Morris
    Funny and untouched by cynical, ironic bids to be taken seriously.
    • 82 Metascore
    • 88 Wesley Morris
    If nothing else, The Filth and the Fury is a searing, forceful, entertainingly biased reminder only that the English group mattered - as musicians and as anti-social curs.
    • 81 Metascore
    • 88 Wesley Morris
    This is also the first of Martel’s films to build in a direction other than up. The film’s lateral movement continues a kind of class commentary.
    • 81 Metascore
    • 88 Wesley Morris
    Blair Witch forgoes a literal boogeyman in favor of the unseen, which, in this case, is as scarily bone-chilling as anything they could show you.
    • 65 Metascore
    • 88 Wesley Morris
    From Marber's fiercely polished writing, Nichols wrings every drop of acid, yet it's a show of the director's goodness that a movie fundamentally preoccupied with interpersonal ugliness is allowed to end on a convincing note of beauty.
    • 72 Metascore
    • 88 Wesley Morris
    Heymann's film was originally a six-part series for Israeli TV. The feature he and his crew have made smoothly truncates those three hours into a rich, discretely damning 85-minute portrait of intolerance.
    • 75 Metascore
    • 88 Wesley Morris
    The movie is a perfect blend of calm execution and uninflected farce.
    • 77 Metascore
    • 88 Wesley Morris
    More a bleak docu-melodrama than an esoteric morality play.
    • 73 Metascore
    • 88 Wesley Morris
    It's an imperfect but ambitious film willing to confront an enormous, complex period in this country.
    • 81 Metascore
    • 88 Wesley Morris
    It's delicately made, yet forceful in its delicacy.
    • 64 Metascore
    • 88 Wesley Morris
    Like so much Iranian cinema, Blackboards is a work of lyrical propaganda. But its metaphors are opaque enough to avoid didacticism, and the film succeeds as an emotionally accessible, almost mystical work.
    • 76 Metascore
    • 88 Wesley Morris
    The movie captures a kind of tragedy of self.
    • 60 Metascore
    • 88 Wesley Morris
    9
    Any optimism in 9, which is bound to try the fortitude of meeker children, feels hard-won. It actually ends in a bittersweet mystery.
    • 73 Metascore
    • 88 Wesley Morris
    The first more-than-halfway-decent movie of a new millennium.
    • 84 Metascore
    • 88 Wesley Morris
    Volver brims with personal and cinematic allusions, but no one hungry for a well-told tale from a master storyteller is required to understand them.
    • 87 Metascore
    • 88 Wesley Morris
    Almodovar imbues his Harlequin-novel-meets-Marvel-comic-book melodramas with something more than a wink and a smile, and it's beguiling.
    • 51 Metascore
    • 88 Wesley Morris
    The movie takes the ABBA jukebox musical that ate London, and is still eating Broadway, and turns it into a surprisingly sensuous experience.
    • 82 Metascore
    • 88 Wesley Morris
    A work of strangely bold, distinctly American pop art - proud to be ashamed, ashamed to be proud, unafraid to ignore its commercial bearings.
    • 52 Metascore
    • 88 Wesley Morris
    It's refreshing to see Gondry's moviemaking still possessed by the community spirit he caught a few years ago with "Dave Chappelle's Block Party."
    • 59 Metascore
    • 88 Wesley Morris
    The movie is the product of his (Friedman) big, shiny love of forgotten soul legends whom superstardom (and the Rock and Roll Hall of Fame, I might add) has eluded.
    • 92 Metascore
    • 88 Wesley Morris
    I liked these characters, and suddenly not having them in my life anymore, simply because Denis has decided to start the closing credits, devastated me.
    • 72 Metascore
    • 88 Wesley Morris
    The film sends you home moved and in a tuneful mood.
    • 78 Metascore
    • 88 Wesley Morris
    The movie is a block of paper that, when Tsai's finished with it, becomes a chain of snowflakes. Loneliness doesn't often get such a gorgeously ornate tribute.
    • 47 Metascore
    • 88 Wesley Morris
    Writers Nicholas Stoller and Judd Apatow remake is more devilish, hitting its targets with the reckless glee required for a round of Whac-A-Mole.

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