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 Killer of Sheep
Lowest review score: 0 From Justin to Kelly
Score distribution:
1,825 movie reviews
    • 85 Metascore
    • 88 Wesley Morris
    The movies are smart -- smarter than you, but not in an off-putting way. Their basic appeal, especially this new one, is that Matt Damon’s killing machine, Jason Bourne, is the cleverest man on earth. And we thrill to his sense of superiority.
    • 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.
    • 83 Metascore
    • 88 Wesley Morris
    A portrait of two different men whose compulsion for Donkey Kong is hilarious.
    • 70 Metascore
    • 88 Wesley Morris
    When a movie about a guy who orders a sex doll off the Internet can turn vice into virtue, something miraculous has occurred. Lars and the Real Girl achieves that kind of miracle.
    • 92 Metascore
    • 88 Wesley Morris
    He even calls the majestic view from one of the hospital landings his Cinecittà, after the legendary Italian film studio. The movie is a Cinecittà of the mind.
    • 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.
    • 75 Metascore
    • 88 Wesley Morris
    This is the epidemic from love's point of view, a story as much about how the disease can ravage the heart as it does the body. It is also Téchiné's best film since 1998's superb "Alice et Martin," and 1994's even better "Wild Reeds."
    • 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."
    • 83 Metascore
    • 88 Wesley Morris
    Everything about Chop Shop is modest - the movie's scale, the characters' ambitions. Another director might have tried to nudge the film's grim detours toward tragedy. And that might have worked, too. But Bahrani is a refreshingly deceptive director in that sense.
    • 85 Metascore
    • 88 Wesley Morris
    Alexandra is a pleasure to watch, but it's also one of those lovely, unclassifiable movies that flourishes better with repeated or prolonged exposures.
    • 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.
    • 79 Metascore
    • 88 Wesley Morris
    This is a film of our times - paranoid, heartbroken, disillusioned - and the rare recent American movie whose characters react the way actual people might.
    • 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
    The beauty of Let the Right One In resides in the way the horror remains grounded in a tragic kind of love.
    • 67 Metascore
    • 88 Wesley Morris
    I can't pretend to know fully what Charlie Kaufman is up to in Synecdoche, New York, with all the doubled characters, dreamy reenactments, comical minutiae, and personal unhappiness. But I got a great deal of pleasure out of watching him mount his fantasia about an artist suffering not simply for his art, but because of it.
    • 80 Metascore
    • 88 Wesley Morris
    Wendy Carroll is a character we rarely see in movies anymore, a woman left alone with her thoughts. That a moviegoer would care what she's thinking testifies to the power in Williams's brand of solitude.
    • 64 Metascore
    • 88 Wesley Morris
    Che
    The labor applied to Che is apparent, but it would be wrong to characterize the movie as laborious the way it was in, say, 2006's "The Good German," where Soderbergh took great pains to re-create 1940s Hollywood wartime glamour.
    • 76 Metascore
    • 88 Wesley Morris
    Merry, filthy, unstoppably hormonal, Serbis feels very much like the sort of movie that happens when no one is minding the store.
    • 61 Metascore
    • 88 Wesley Morris
    Fighting has real grit and excellent acting. In other words, there is gold in that dirt.
    • 89 Metascore
    • 88 Wesley Morris
    It sounds like the old unstoppable-force-meets-immovable-object trick. Ramin Bahrani's Goodbye Solo has the trappings of such a story, but, mercifully, none of the follow-through.
    • 68 Metascore
    • 88 Wesley Morris
    The decadence is obvious. But true to the Valentino prerogative, it's beautiful - sad, too: a dream life moving into the unknown.
    • 84 Metascore
    • 88 Wesley Morris
    Revanche was a foreign-language Oscar nominee this year, and it's a better movie than most of the films in the main race. The word "revanche" means "revenge" in German, but "waiting" would have been just as good.
    • 94 Metascore
    • 88 Wesley Morris
    In The Hurt Locker, the thrill is unexpectedly contagious. You don't realize how riveted you are until you're back on American soil observing James in civilian life.
    • 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.
    • 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.
    • 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.
    • 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.
    • 85 Metascore
    • 88 Wesley Morris
    This emperor verges on dementia, having no apparent clue how to function.
    • 90 Metascore
    • 88 Wesley Morris
    It’s imperfect, but it’s daring, bold, and from a director who isn’t scared of anything.
    • 75 Metascore
    • 88 Wesley Morris
    The movie is a perfect blend of calm execution and uninflected farce.