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

Wesley Morris' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Russian Ark
Lowest review score: 0 The Human Centipede II (Full Sequence)
Score distribution:
1,825 movie reviews
    • 78 Metascore
    • 100 Wesley Morris
    Not about crashing into walls or crashing into other people. It's about crashing into yourself and living to tell the tale.
    • 82 Metascore
    • 100 Wesley Morris
    The ends remain loose in The White Ribbon.’ But that lack of closure is thrilling. Haneke lays his movie and its mysteries at our feet, leaving us to ask, “What in tarnation?’’
    • 85 Metascore
    • 100 Wesley Morris
    With impeccable skill, Akin has made a film roiling with cruelty but guided by tough political optimism. No, we can't all get along, but some us of are trying.
    • 81 Metascore
    • 100 Wesley Morris
    One of the truest, most beautiful movies ever made about two strangers.
    • 87 Metascore
    • 100 Wesley Morris
    Nothing momentous happens here, but Philibert has a magical sense of how to find the simple poetry lurking in the universal routine of being a kid. A lot of the film's lyricism is extracurricular.
    • 88 Metascore
    • 100 Wesley Morris
    It's a glimmering hunk of fractured brilliance riddled with Orwellian paranoia encased in a production design seemingly pieced together from the shared dreams of Franz Kakfa and Salvador Dali, and shot from cruelly low angles.
    • 86 Metascore
    • 100 Wesley Morris
    Ten
    The new Abbas Kiarostami film is called Ten, and in it something amazing happens: nothing.
    • 77 Metascore
    • 100 Wesley Morris
    Spellbinding.
    • 95 Metascore
    • 100 Wesley Morris
    This is a trenchant emotional thriller that you watch in dread, awe, and amazing aggravation. It's entirely predicated upon the outcome of bad decisions - and it is not a comedy. The situation that unfolds approaches the absurdity of farce but denies the relief and release of humor. It's a tragic farce. No option or choice is to be envied.
    • 81 Metascore
    • 100 Wesley Morris
    The usual emphasis in a detective film is upended so that procedure, thrillingly, is more important than action. In its own way, this is one of the most intense cop movies you'll see.
    • 93 Metascore
    • 100 Wesley Morris
    Freshly viewed, the movie's melancholy seems to fit uncannily well in the moment we find ourselves now. In the film there are mentions of nuclear annihilation and worries that heedless lust and wanton partying could bring Rome a second fall.
    • 84 Metascore
    • 100 Wesley Morris
    This is the most significant feature about poor black life since Charles Burnett's 1977 "Killer of Sheep."
    • 85 Metascore
    • 100 Wesley Morris
    Setting aside, just for a moment, his general loathsomeness, there is a case to be made for a less apparent aspect of Benito Mussolini: He was once really hot.
    • 81 Metascore
    • 100 Wesley Morris
    This is the first beautiful performance in the year's first great movie.
    • 83 Metascore
    • 100 Wesley Morris
    Like no movie before it, Adaptation risks everything -- its cool, its credibility, its very soul -- to expose the horror of making art for the business of entertainment.
    • 91 Metascore
    • 100 Wesley Morris
    Elegant.
    • 88 Metascore
    • 100 Wesley Morris
    The result is a masterpiece of investigative nonfiction moviemaking - a scathing, outrageous, depressing, comical, horrifying report on what and who brought on the crisis.
    • 48 Metascore
    • 100 Wesley Morris
    It's a thrill to watch Posey incorporate, at last, some true emotion into her exuberant screwball wit.
    • 79 Metascore
    • 100 Wesley Morris
    A marvelous, uncommonly observant, and unexpectedly rousing group portrait.
    • 92 Metascore
    • 100 Wesley Morris
    I was much more disheartened leaving the movie the first time I saw it than I was the second. Its richness resides in its apparent objectivity. Without sacrificing a sense of hope, Cantet suggests that the school system is just like a certain vexing grammatical tense: imperfect but still fighting against irrelevance.
    • 86 Metascore
    • 100 Wesley Morris
    The immediacy and caprice of violence in The Interrupters are just as strong as in nearly every documentary I've seen about the wars in Iraq and Afghanistan.
    • 64 Metascore
    • 100 Wesley Morris
    Fast Food Nation has the dramatic flatness and willful lack of personality of some documentaries -- or at least how Linklater thinks a documentary should be. The movie nonetheless feels like both a work of investigative journalism and an immense human-interest story, veering into muckraking, horror, teen comedy, and what passes for "Twilight Zone" science fiction.
    • 84 Metascore
    • 100 Wesley Morris
    Moonrise Kingdom is Anderson's seventh movie, and it's the first since "Rushmore" that works from the opening shot to the final image.
    • 86 Metascore
    • 100 Wesley Morris
    A momentously, shockingly moving fit of shape-shifting by a filmmaker grown tired of the macabre.
    • 79 Metascore
    • 100 Wesley Morris
    This movie catalogs a wealth of human ugliness. It’s even been made to look ugly, presumably to underscore the horror movie that is Precious’s life.
    • 74 Metascore
    • 100 Wesley Morris
    The entire movie is pitched at a scream. But the screaming is more Janis Joplin, Axl Rose, or Mary J. Blige than Jamie Lee Curtis. All the tears I shed were hard-earned. So were all the laughing and clapping and eye-covering. In each case, it was involuntary.
    • 75 Metascore
    • 100 Wesley Morris
    A further, captivating extension of Oshima's marriage of the oblique and the erotic.
    • 81 Metascore
    • 100 Wesley Morris
    This is a brilliantly structured hall of mirrors that wraps Catholicism and the movie industry into a tasty film noir.
    • 61 Metascore
    • 100 Wesley Morris
    Astonishing.
    • 78 Metascore
    • 100 Wesley Morris
    Her (Anderson) performance is a study in the difference between hubris and pride, remarkable for how unshowy but profoundly devastating it is.

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