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
    • 71 Metascore
    • 88 Wesley Morris
    Comes on as both a rebuke to male vanity and a chic metaphor for midlife panic.
    • 85 Metascore
    • 88 Wesley Morris
    What an amazing presence Gorintin has. Never mind her hunched back and white hair, she's no crone. She makes Eka needy for happiness but susceptible to heartbreak. It's a great performance, full of both joy and the quiet, disappointing parts of being alive that come with knowing change is part of life.
    • 72 Metascore
    • 88 Wesley Morris
    All the gears, in fact, are shamelessly visible, yet they lock smoothly and resonantly into place. If Akeelah and the Bee is a generic, well-oiled commercial contraption, it is the first to credibly dramatize the plight of a truly gifted, poor black child.
    • 77 Metascore
    • 88 Wesley Morris
    Barbara Kopple and Cecilia Peck's film is a fascinating look at the intersection of commerce, celebrity, and controversy.
    • 60 Metascore
    • 88 Wesley Morris
    To say the least, the film is awkward, like a piece of badly assembled Ikea furniture. Still, editor Bernadine Colish weaves together all that C-SPAN footage into a disturbing procedural indictment. Legislators use the same language - often the president's - to justify the rush to war. The repetition is comical until it's scary: They're parroting.
    • 76 Metascore
    • 88 Wesley Morris
    This is the best thing Mortensen's ever done. His slow, paunchy, hairy Freud has a cavalier authority and a capacity for drollery. He's also seductively wise in a way that makes both Fassbender and Knightley, as very good as they are, also seem uncharacteristically callow.
    • 82 Metascore
    • 88 Wesley Morris
    [Cuaron]'s a visionary and crafty storyteller who rewards your patience, not with twists in the plot, though the movie has its share, but with pure feeling. Deploying wit, grace, and artistry, he's whisked a kid flick into adolescence.
    • 86 Metascore
    • 88 Wesley Morris
    Boys Don't Cry's intensity sneaks up on you like a snake.
    • 87 Metascore
    • 88 Wesley Morris
    As Apichatpong erases, once again, the barriers between the celestial and terrestrial, he also does away with the cordons between film genres - this is sci-firomancefamilyreligiousthrillercomedyporn. No video service has a section for that. The only suitable shelf is the one in your soul.
    • 87 Metascore
    • 88 Wesley Morris
    The film's central drama is not between the former secretary and the filmmaker. It's between McNamara and history.
    • 71 Metascore
    • 88 Wesley Morris
    Ultimately, Bingenheimer seems underwhelmed with himself. The people who know him say, in the movie, that he's a relic. Mayor of the Sunset Strip makes heartbreakingly clear what a glorious relic Bingenheimer is.
    • 61 Metascore
    • 88 Wesley Morris
    Proves acutely subtle. But its question of what we forgive art in the face of atrocity and immorality is one for the ages.
    • 79 Metascore
    • 88 Wesley Morris
    Oasis is that rare miraculous whirlwind romance that moves from attempted rape to reverence without kicking up a lot of dust.
    • 69 Metascore
    • 88 Wesley Morris
    We have lots of terminology for what happens when two male stars appear to have the platonic hots for each other. The genre is called bromance. The feelings are bromantic. The orientation is bromosexuality. What Jonah Hill and Channing Tatum have in 21 Jump Street scrambles, transcends, and explodes all of that.
    • 73 Metascore
    • 88 Wesley Morris
    Awash in strangeness, a poem that details what it's like to be 13 at the end of a millennium.
    • 78 Metascore
    • 88 Wesley Morris
    Segues from the merely quirky into the bizarrely unthinkable.
    • 90 Metascore
    • 88 Wesley Morris
    More often than not the film casts an infectious, evocative spell.
    • San Francisco Examiner
    • 66 Metascore
    • 88 Wesley Morris
    It's the rawest, most hot-blooded, provocatively audacious, dangerous movie to come of out Hollywood this year.
    • 84 Metascore
    • 88 Wesley Morris
    Hysterical-depressing, vividly sobering.
    • 88 Metascore
    • 88 Wesley Morris
    Imbued with infectious pluck. It's also a lucid, competent, titanically entertaining movie loaded with workable gags.
    • 63 Metascore
    • 88 Wesley Morris
    The word bears repeating, so everyone from Andrew Weil to Stephen Hawking to Mikhail Gorbachev is here to speak the still-inconvenient truth. The filmmaking, however, is far more relentless than in that Oscar-winning Al Gore slide show.
    • 65 Metascore
    • 88 Wesley Morris
    Madhouse satire manages to disarm the second you realize it's laughing with you - and sometimes harder.
    • San Francisco Examiner
    • 71 Metascore
    • 88 Wesley Morris
    A riveting and sobering way to spend a Saturday afternoon.
    • 81 Metascore
    • 88 Wesley Morris
    Dennis's film attempts something few documentaries have: to inhabit the psyche of its subject.
    • 82 Metascore
    • 88 Wesley Morris
    The film quickly becomes one of the most powerful, carefully researched investigations of the moral-legal side effects of current American military campaigns in Afghanistan and Iraq. It's terrifying in a way that sneaks up on you.
    • 60 Metascore
    • 88 Wesley Morris
    Bernal, with his sweet man-boy looks, makes Padre Amaro's portrait of corruption all the more flabbergasting in its irony.
    • 77 Metascore
    • 88 Wesley Morris
    Staggering, gorgeously ambiguous.
    • 82 Metascore
    • 88 Wesley Morris
    The beauty of Let the Right One In resides in the way the horror remains grounded in a tragic kind of love.
    • 93 Metascore
    • 88 Wesley Morris
    If there's a granddaddy of breezy situationalism, it's probably Buñuel.
    • 61 Metascore
    • 88 Wesley Morris
    No-fat filmmaking aided by Berri's muscular formalism that, here, occasionally assumes the gritty focus of a taut, action thriller.

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