For 280 reviews, this critic has graded:
  • 54% higher than the average critic
  • 7% same as the average critic
  • 39% lower than the average critic
On average, this critic grades 1.1 points higher than other critics. (0-100 point scale)

Wesley Morris' Scores

  • Movies
Average review score: 60
Highest review score: 100 Being John Malkovich
Lowest review score: 0 Luminarias
Score distribution:
  1. Negative: 49 out of 280
280 movie reviews
    • 70 Metascore
    • 100 Wesley Morris
    Turns into something like a screwball farce, an intimate, self-aware one.
    • 73 Metascore
    • 100 Wesley Morris
    Makes a term like neo-noir seem like a fatuous catch phrase.
    • 46 Metascore
    • 100 Wesley Morris
    It's the year's best movie sex.
    • 70 Metascore
    • 100 Wesley Morris
    Meanders around Holly Springs, Mississippi, with the fuzzy benevolence of a Hallmark Hall of Fame presentation.
    • 68 Metascore
    • 100 Wesley Morris
    Gets diagnosably schizo.
    • 83 Metascore
    • 100 Wesley Morris
    With Election, Payne announces himself as one of the keenest purveyors of the scattered pieces that once was an American morality.
    • 76 Metascore
    • 100 Wesley Morris
    Ethereal.
    • 91 Metascore
    • 100 Wesley Morris
    Elegant.
    • 86 Metascore
    • 100 Wesley Morris
    A momentously, shockingly moving fit of shape-shifting by a filmmaker grown tired of the macabre.
    • 52 Metascore
    • 100 Wesley Morris
    So phenomenal that Bill Murray can't even steal it. And he tries. So excellent that Murray's MTV progeny Tom Green can't sink it.
    • 76 Metascore
    • 100 Wesley Morris
    It's that rare movie with a sense of timeliness that is eternal, and a protagonist whose soul-crushed angst, even at its most fatal, speaks to the little boy/girl lost in everyone.
    • 77 Metascore
    • 100 Wesley Morris
    Spellbinding.
    • 90 Metascore
    • 100 Wesley Morris
    It's the film we leave most movie theaters wishing we'd seen instead.
    • 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.
    • 89 Metascore
    • 100 Wesley Morris
    Part aerobics workout, part self-styled dreamscape, Sense is a hyperactive piece of performance art that begins as the stripped-down dress rehearsal of a garage band and builds into a mighty, exhausting spectacle that shakes as much ass as it kicks. [Review of re-release]
    • 90 Metascore
    • 88 Wesley Morris
    Mike Leigh's great big, superbly performed homage to the creative process.
    • 57 Metascore
    • 88 Wesley Morris
    The shenanigans have been pared into 84 minutes of transgressive, potty-minded farce, that is often Waters at his most cheerful and most thematically focused.
    • 81 Metascore
    • 88 Wesley Morris
    It's the boys' most immediately gratifying movie: The goods are delivered in a hearse.
    • 60 Metascore
    • 88 Wesley Morris
    Funny and untouched by cynical, ironic bids to be taken seriously.
    • 93 Metascore
    • 88 Wesley Morris
    If there's a granddaddy of breezy situationalism, it's probably Buñuel.
    • 59 Metascore
    • 88 Wesley Morris
    A monumentally graceful union of two extremely dissimilar stars, one inspired cinematographer and an exceptionally patient, curious, independent-minded director.
    • 85 Metascore
    • 88 Wesley Morris
    Soberly, deeply effective.
    • 61 Metascore
    • 88 Wesley Morris
    A movie too smart and too urgent to be categorically awful. Clinically insane may be another matter altogether.
    • 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.
    • 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.
    • 78 Metascore
    • 88 Wesley Morris
    Segues from the merely quirky into the bizarrely unthinkable.
    • 77 Metascore
    • 88 Wesley Morris
    Staggering, gorgeously ambiguous.
    • 66 Metascore
    • 88 Wesley Morris
    The least opaque of Antonioni's films, unburdened by stylishness and his imagistic inflammations.
    • 73 Metascore
    • 88 Wesley Morris
    The first more-than-halfway-decent movie of a new millennium.
    • 72 Metascore
    • 88 Wesley Morris
    Go
    A triptych whirling on a Lazy Susan of revolving character perspectives.
    • 52 Metascore
    • 88 Wesley Morris
    Feels like it could go blow up at any time. It implodes instead, and the meltdown, though visible in one of the final sequences, is still corrosive.
    • 82 Metascore
    • 88 Wesley Morris
    The amazing thing about the film, for anyone who hasn't had an intentional Hollywood scare lately, is that it still delivers on the most visceral level
    • 86 Metascore
    • 88 Wesley Morris
    Boys Don't Cry's intensity sneaks up on you like a snake.
    • 65 Metascore
    • 88 Wesley Morris
    Madhouse satire manages to disarm the second you realize it's laughing with you - and sometimes harder.
    • 88 Metascore
    • 88 Wesley Morris
    Imbued with infectious pluck. It's also a lucid, competent, titanically entertaining movie loaded with workable gags.
    • 90 Metascore
    • 88 Wesley Morris
    More often than not the film casts an infectious, evocative spell.
    • 84 Metascore
    • 88 Wesley Morris
    Hysterical-depressing, vividly sobering.
    • 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.
    • 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.
    • 77 Metascore
    • 88 Wesley Morris
    A knock-down, haywire ballad of the adrenalinization of love and despair.
    • 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.
    • 79 Metascore
    • 88 Wesley Morris
    Like laughing into a mirror for 113 minutes.
    • 71 Metascore
    • 88 Wesley Morris
    Beautiful, wandering little love story that wants to break your heart and probably will.
    • 59 Metascore
    • 88 Wesley Morris
    In Criminal Lovers, the "Bonnie and Clyde" model of killing-as-erotica gets a shrewd, funny, decidedly French workout.
    • 73 Metascore
    • 88 Wesley Morris
    Through it all, Ozon supplies a sense of pathos that makes fun of its own soullessness, transforming a self-serious suicide note into an existential love letter.
    • 73 Metascore
    • 88 Wesley Morris
    A document of vexing (and vexed) immediacy.
    • 76 Metascore
    • 88 Wesley Morris
    The majestic pageant of images - no sylvan landscape has been this indelibly, dimensionally alive - is inextricably welded to the multifold spiritual / ecological questions about the future that Miyazaki is contemplating.
    • 73 Metascore
    • 88 Wesley Morris
    It's a gas, dude!
    • 66 Metascore
    • 88 Wesley Morris
    It's the rawest, most hot-blooded, provocatively audacious, dangerous movie to come of out Hollywood this year.
    • 71 Metascore
    • 88 Wesley Morris
    It's the hypnotic long-form music video Smoke never got to make.
    • 61 Metascore
    • 75 Wesley Morris
    It's the most liberated and alive [DeNiro]'s been since his deluded Rupert Pupkin tried to kidnap Jerry Lewis in "King of Comedy."
    • 56 Metascore
    • 75 Wesley Morris
    Fancher's placid, eerily subdued first directorial feature.
    • 51 Metascore
    • 75 Wesley Morris
    In Winona Ryder's case, Girl Interrupted is a showcase in which her brittle, angry portrait shows she has graduated from ingenue to actress.
    • 64 Metascore
    • 75 Wesley Morris
    A finely coiffed, cream-cheese "8 1/2" remix with Gere, a Marcello Mastroianni for Oprah Winfrey times.
    • 73 Metascore
    • 75 Wesley Morris
    A featherweight parlor-room French farce in need of an anchor to keep it from being blown away by the summer blockbuster gales.
    • 65 Metascore
    • 75 Wesley Morris
    Deceptively keen as both a paranoid political thriller and a caveat against the trustworthiness of your friends and neighbors.
    • 73 Metascore
    • 75 Wesley Morris
    Loose and funny with verve.
    • 66 Metascore
    • 75 Wesley Morris
    The deft, hilarious Notting Hill finds Grant's dour-droll-deprecating affliction at its most dead-on.
    • 52 Metascore
    • 75 Wesley Morris
    An army of rolled abs and their owners give the state of American race relations a beginner's workout.
    • 52 Metascore
    • 75 Wesley Morris
    Exists as a seldom represented American time capsule, and it's all good.
    • 38 Metascore
    • 75 Wesley Morris
    It's a half-life better than Martin Lawrence treading similar, simpler water in "Big Momma's House."
    • 62 Metascore
    • 75 Wesley Morris
    Dogma' is Kevin Smith's fourth film and it looks like his first but I'm not ready to quit him -- there's a landmark in him. I just wish the crafty, raucous Dogma was it.
    • 71 Metascore
    • 75 Wesley Morris
    Priceless enough to flush "Metro," "Dr. Dolittle" and "Holy Man" from memory.
    • 75 Metascore
    • 75 Wesley Morris
    An alt-country paean to libidinal mothers and the little girls who clean up the mess.
    • 72 Metascore
    • 75 Wesley Morris
    McTiernan's film mines what substance it has from its two stars, but is admittedly about keeping up its own appearances.
    • 75 Metascore
    • 75 Wesley Morris
    What remains of the book's psychological underpinnings -- there are enough here to leave a permanent dent in the couch of any Freud-loving shrink
    • 59 Metascore
    • 75 Wesley Morris
    Hot-blooded.
    • 74 Metascore
    • 75 Wesley Morris
    An adrenaline-pumping, post-musical musical.
    • 76 Metascore
    • 75 Wesley Morris
    A dashing fusion of the literary and the cinematic.
    • 55 Metascore
    • 75 Wesley Morris
    Harris, Heche make unholy twosome.
    • 69 Metascore
    • 75 Wesley Morris
    Revelatory.
    • 59 Metascore
    • 75 Wesley Morris
    There's enough sexual manic depression to justify house calls from Dr. Laura.
    • 69 Metascore
    • 75 Wesley Morris
    Never has this war been filmed with such ragged glory.
    • 78 Metascore
    • 75 Wesley Morris
    At its best when it's hovering around the muted dysfunction between a father and a son, who never understood each other to begin with.
    • 62 Metascore
    • 75 Wesley Morris
    A flyweight, humongously entertaining ensemble number.
    • 66 Metascore
    • 75 Wesley Morris
    The film is alt-schmaltz, and it'll do.
    • 81 Metascore
    • 75 Wesley Morris
    Priceless.
    • 72 Metascore
    • 75 Wesley Morris
    The ballad as it turns out is a duet between a dad and his girl, who'd often rather accentuate the positive than exploit pain, quietly proving that she is her father's daughter.
    • 47 Metascore
    • 75 Wesley Morris
    A crafty, sometimes craven, but hardly worshipful snapshot of an unlikely candidate for biggest rock act on earth.
    • 65 Metascore
    • 75 Wesley Morris
    The End of the Affair's masterfully heartbroken final scene is scarier in its nightmarishly wry suggestion of ill fate than anything that ever happened on Elm Street.
    • 61 Metascore
    • 75 Wesley Morris
    Spirited, madly educational docu-quickie.
    • 73 Metascore
    • 75 Wesley Morris
    Like a Sally Field movie by Vittorio De Sica: Zhang wants to affect you with the subtle sting of his politics.
    • 70 Metascore
    • 75 Wesley Morris
    An ecstatic sensory experience so overloaded it hardly matters that the narrative has been placed on a back burner.
    • 73 Metascore
    • 75 Wesley Morris
    From both sides of the camera, Eastwood works the crowd better than he has in years.
    • 68 Metascore
    • 75 Wesley Morris
    Binoche is the ideal creature for that kind of cosmetic expansion, and, here, her thorough modernity takes on an almost cruddy, Italian sadness.
    • 76 Metascore
    • 75 Wesley Morris
    Crassly funny passages.
    • 58 Metascore
    • 75 Wesley Morris
    A fascinating, sometimes profound curiosity.
    • 60 Metascore
    • 75 Wesley Morris
    Where Never Been Kissed succeeds is in its unabashed refusal to stoop to choosing sides in the high-school hipness war.
    • 42 Metascore
    • 75 Wesley Morris
    There's an unstable genius brewing beneath Mary Katherine's scarlet headband. As "SNL" women go, only Gilda Radner seemed as willing to rib so much of herself for our pleasure.
    • 42 Metascore
    • 75 Wesley Morris
    An impressively competent "how will male teen star get with female teen star at high school dance?" romance.
    • 57 Metascore
    • 75 Wesley Morris
    By its hilarious, grotesquely over-the-top climax, Holy Smoke is ideologically, metaphorically out of control, as if it has risen from the '70s ashes.
    • 65 Metascore
    • 75 Wesley Morris
    A shockingly eloquent, nearly moving feat of Y2K-trendiness.
    • 65 Metascore
    • 75 Wesley Morris
    There must be nine or 10 thwacks to the neck throughout Sleepy Hollow, and Burton finds a different way to make the resulting severed noggin fall as though you'd forgotten the last one.
    • 84 Metascore
    • 75 Wesley Morris
    A meticulously assembled dramatization of a grossly controversial moment in TV history.
    • 88 Metascore
    • 75 Wesley Morris
    Aspires to the boundlessness of a kid's imagination.
    • 59 Metascore
    • 75 Wesley Morris
    A collection of arbitrary sketches, bits and improvs jammed into a locker room-style variety show masquerading as some semblance of a narrative.
    • 48 Metascore
    • 75 Wesley Morris
    Deadly funny.
    • 69 Metascore
    • 75 Wesley Morris
    Groovy.
    • 62 Metascore
    • 75 Wesley Morris
    The journey's a kick.
    • 69 Metascore
    • 75 Wesley Morris
    Stooge-filled farce offers low laughs but lacks a point.