Wesley Morris
Select another critic »
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 0.1 points higher than other critics. (0-100 point scale)

Wesley Morris' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Cookie's Fortune
Lowest review score: 0 Lost Souls
Score distribution:
1,825 movie reviews
    • 66 Metascore
    • 88 Wesley Morris
    Her face is as much a part of her comedic form as her observations are. It's an amazing slapstick instrument, creating a scrapbook of living mug shots.
    • 84 Metascore
    • 88 Wesley Morris
    Kurt and Mark's trip to those hot springs is a figurative return to Eden. Anyone who's had a disillusioning reunion with a moony old friend knows what Mark discovers: They're too old to stay that innocent. None of this hit me until after the movie ended. But it hit me hard: You can't go home again.
    • 87 Metascore
    • 88 Wesley Morris
    The arrival of closing credits feels like a trap door. The film is over, and, suddenly, we have to leave these people. The directors make no guarantee for their futures, but the strength of their filmmaking inspires you to hope for the best.
    • 79 Metascore
    • 88 Wesley Morris
    If the second hour or so isn't as strong as the first, it's because the filmmaking fails to rise to the injustice that's befallen its subjects since their exoneration. It can't, really.
    • 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.
    • 72 Metascore
    • 88 Wesley Morris
    In ''Trials,'' Hitchens is almost endearing, stalking Kissinger from one event to the next like a bleary-eyed Michael Moore.
    • 81 Metascore
    • 88 Wesley Morris
    Cooper gives the performance just the right lunacy and doubt.
    • 90 Metascore
    • 88 Wesley Morris
    It’s imperfect, but it’s daring, bold, and from a director who isn’t scared of anything.
    • 87 Metascore
    • 88 Wesley Morris
    This is a modest marvel of grace and framing that unfolds with the patience of a cloud and is driven more by wonder than pure emotion. It doesn't have the exuberance of Francois Truffaut 's "Small Change." Instead, it's that movie's antonym, yet just as wondrous.
    • 79 Metascore
    • 88 Wesley Morris
    If Keane is a downer, it's a stupendously well-conceived one.
    • 81 Metascore
    • 88 Wesley Morris
    The film has the perverse intelligence of Cronenberg's other movies. It's not his best, but it is certainly his most accessible, least stagy work, obeying the laws of chronology and serving up characters whom we recognize as people.
    • 81 Metascore
    • 88 Wesley Morris
    The movie Quentin Tarantino has written and directed is corkscrewed, inside-out, upside-down, simultaneously clear-eyed and completely out of its mind.
    • 77 Metascore
    • 88 Wesley Morris
    That commendable sense of balance, which Dolgin and Franco use to approach this family reunion, ultimately makes the finished product devastating.
    • 74 Metascore
    • 88 Wesley Morris
    A shrewdly acted, bittersweet comedy.
    • 79 Metascore
    • 88 Wesley Morris
    Like laughing into a mirror for 113 minutes.
    • 79 Metascore
    • 88 Wesley Morris
    An elegy for a vanishing emblem of what once characterized this country's vitality.
    • 67 Metascore
    • 88 Wesley Morris
    It's deeply stylized, but there's an accompanying patience and gravity that are hard to shake. They're the architecture of a lingering, unsentimental sadness.
    • 96 Metascore
    • 88 Wesley Morris
    All the voice work here is excellent, especially Oswalt's. He sounds like Paul Giamatti but with a greater capacity for confidence.
    • 73 Metascore
    • 88 Wesley Morris
    Watching it is like being lost in somebody's richly moody campfire story -- it's so good, in fact, that only once it's over do you realize you've been holding your marshmallows too close to the flame.
    • 88 Metascore
    • 88 Wesley Morris
    Mafioso is the missing link in the mob movie arc.
    • 67 Metascore
    • 88 Wesley Morris
    What Christlieb and Kijak do so well is keeping these folks from not seeming like loons.
    • 78 Metascore
    • 88 Wesley Morris
    Maddin's movies are easy, too. Point your eyes at the screen; the magic follows.
    • 66 Metascore
    • 88 Wesley Morris
    Like a whacked pinata, it spills over with treasures - and one of the best things to fall out is Steve Buscemi, doing a riotously meek variation on the mad-scientist-with-cracked-lenses-and-lab-coat bit.
    • 90 Metascore
    • 88 Wesley Morris
    The film is conducted in a delirious cinema-verite style; most of what you see has a brutal, you-are-there immediacy. You're not merely watching history, you're engulfed by it.
    • 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.
    • 43 Metascore
    • 88 Wesley Morris
    Eloquent and unapologetically cute.
    • 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.
    • 57 Metascore
    • 88 Wesley Morris
    The film's most endearing trait is that these people sincerely love movies, and they truly love their own idiosyncrasies. And is that not the greatest love of all?
    • Boston Globe
    • 92 Metascore
    • 75 Wesley Morris
    The film's look makes a divine accessory for its music, which Miles Davis composed. There's not even 20 minutes of it in the film, yet it still defines the atmosphere, transforming a crime yarn into a bebop noir.
    • 46 Metascore
    • 75 Wesley Morris
    So all the handsome shots that turn the city into a toyland and all the superb editing and vibrant art direction - all the formal tricks Daldry uses to whip you up and work you over - risk being too much. After 45 minutes, it can feel like junk on a sundae. But the movie has a human coup.

Top Trailers