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

Wesley Morris' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 The Beaches of Agn├Ęs
Lowest review score: 0 From Justin to Kelly
Score distribution:
1825 movie reviews
    • 45 Metascore
    • 50 Wesley Morris
    Mediocre-TV-drama-load of formulas.
    • 50 Metascore
    • 50 Wesley Morris
    Less like watching a movie than it is like being accosted by one.
    • 34 Metascore
    • 50 Wesley Morris
    The movie's not bad enough to be world-ending, merely clumsy.
    • 47 Metascore
    • 50 Wesley Morris
    The film has a persuasive murkiness and one extended mythopoetic final sequence that's almost moving in its silence.
    • 63 Metascore
    • 50 Wesley Morris
    A feat of droll, refractive, melodramatic self-portraiture.
    • 46 Metascore
    • 50 Wesley Morris
    If you want to watch a gaggle of pretty faux-neurotic people hang out and throw quips, you're probably better off watching "Friends."
    • 57 Metascore
    • 50 Wesley Morris
    Osmosis is really an occasion for the brothers to take their culture- debasing scatology to a PG crowd.
    • 47 Metascore
    • 50 Wesley Morris
    What should have been 90 zippy minutes of jingling, giggling, winking fakery adds up to only about 20 minutes of fun.
    • 48 Metascore
    • 50 Wesley Morris
    For a little while, comedy ensues.
    • 48 Metascore
    • 50 Wesley Morris
    It's a fact that becomes riotously evident in the reel of outtakes that caps the picture and incites wonder about why no one thought to give us 90 minutes of those instead.
    • 29 Metascore
    • 50 Wesley Morris
    A pure Frankenstein flick -- ugly, profane, terror-inducing, clumsy, nasty, desperate, stupid, contemptible, horny and brought to life by schlocky, shoddy science and an electric wish to prove that its makers still matter.
    • 74 Metascore
    • 50 Wesley Morris
    The Others is great as a collection of acknowledgments, but a ghost story made of a bunch of ghoulish thank-yous isn't that haunting.
    • 71 Metascore
    • 50 Wesley Morris
    Moreover, what the film lacks in temporal credibility, it amply makes up for in sheer rawness -- the rawness being literal.
    • 57 Metascore
    • 50 Wesley Morris
    The World Is Not Enough, like a 19th version of anything, is inanely self-parodic. So much so that one wonders why Austin Powers need have bothered in the first place.
    • 38 Metascore
    • 50 Wesley Morris
    Little Nicky is but a meek gross-out cousin of "The Waterboy."
    • 42 Metascore
    • 50 Wesley Morris
    Blakeney can't decide if this is a quirky romantic comedy or a quirky mob essay, and you can see the movie thinking itself into a rhythmless hole with cement shoes.
    • 44 Metascore
    • 50 Wesley Morris
    Works as a quixotic study of emotional quirks.
    • 44 Metascore
    • 50 Wesley Morris
    Its finest moments come in sequences such as Alice and Darlene's prison break and the girls' final wrenching plea for freedom.
    • 55 Metascore
    • 50 Wesley Morris
    It feels like a trumped up trifle, disinterested in narrative exercises, using instead technique (cinematography, editing and, omigod, a soundtrack!) to swing moods and heighten reality, then send it crashing to earth.
    • 35 Metascore
    • 50 Wesley Morris
    An arthritic failure, genuine only when the two outcast lovers' eyes dart toward each other, then retreat.
    • 44 Metascore
    • 50 Wesley Morris
    Right up to its deliberate thud of a closer, Polanski had me.
    • 62 Metascore
    • 50 Wesley Morris
    Determined to be inoffensively tidy and cute above all else.
    • 74 Metascore
    • 50 Wesley Morris
    What remains is Washington's volcanic and contemplative work at the core of a film packed to the rafters with raging bull.
    • 64 Metascore
    • 50 Wesley Morris
    Not entirely persuasive, not entirely schmaltzy, "The Tic Code" is one of those well-meant dramatizations... that mysteriously made it all the way to a theater near you.
    • 52 Metascore
    • 50 Wesley Morris
    If I wanted a Nora Ephron cuddle-ganza, I'd rent one.
    • San Francisco Examiner
    • 43 Metascore
    • 50 Wesley Morris
    A laughably disconnected hostage drama that rails against the perceived nightmare of inner-city public schools.
    • 41 Metascore
    • 50 Wesley Morris
    Not the sweaty midnight stroll through the garden of carnal delights that its title wants you to believe.
    • 51 Metascore
    • 50 Wesley Morris
    A lazy, torpid piece of animated tourism.
    • 41 Metascore
    • 50 Wesley Morris
    Often grating in its presentation.
    • 49 Metascore
    • 50 Wesley Morris
    An au natural (read: graphic) tryst-a-thon whose fashion sense is outweighed only by its bulky sexual intellectualism.
    • 56 Metascore
    • 50 Wesley Morris
    Particularly anticlimactic - the film itself seems sprung from molting yuppie catalogs.
    • San Francisco Examiner
    • 45 Metascore
    • 50 Wesley Morris
    This is neither a psychological thriller nor an erotic one, so any interest in the story is purely the work of its stars.
    • San Francisco Examiner
    • 46 Metascore
    • 50 Wesley Morris
    Determined to try your patience, asking you to fall in love with it.
    • 42 Metascore
    • 50 Wesley Morris
    Reinforcing the chasm between movie magic and wishful thinking.
    • San Francisco Examiner
    • 19 Metascore
    • 50 Wesley Morris
    An archaic rail-ride into the heart of boredom.
    • 61 Metascore
    • 50 Wesley Morris
    As innocuous as the love songs on its soundtrack.
    • 46 Metascore
    • 50 Wesley Morris
    The comedian's thankful willingness to do anything for Blue Streak...is its redeeming grace.
    • 53 Metascore
    • 50 Wesley Morris
    Crime-by numbers-cop drama.
    • San Francisco Examiner
    • 33 Metascore
    • 50 Wesley Morris
    Frill-less almost to the point of minimalist, teary without being lachrymose, hers is a performance you'd think was great were the movie in a language you didn't understand.
    • 65 Metascore
    • 50 Wesley Morris
    For all the blathering, heavy-handed pathos, we might as well be watching the Lifetime cable channel.
    • 34 Metascore
    • 50 Wesley Morris
    Feels like an interminable pilot for a show to fill that deadly 8:30 slot between "Friends" and "Will and Grace."
    • 76 Metascore
    • 50 Wesley Morris
    It's scant to the point of irrelevance.
    • 70 Metascore
    • 50 Wesley Morris
    The movie's afraid of [Stiles], turning Kat from riot grrrrl to Solid Gold dancer in the time it takes to drop one Notorious B.I.G. song at that house party - which is why it's the Spam of processed teen movies.
    • 41 Metascore
    • 50 Wesley Morris
    In a sense, Sandler is damned if he develops, damned if he devolves. But he needn't apologize for being who he is by turning a goldmine sitcom into a tame "Baby Boom" for guys.
    • 63 Metascore
    • 50 Wesley Morris
    If it's difficult to find straight laughs in a colorblind prison movie (It's difficult enough to find a colorblind prison movie), finding straight laughs in a black one is almost impossible.
    • 56 Metascore
    • 50 Wesley Morris
    It's fun, but the blatant, obvious kind that mistakes allusive cool for mature filmmaking and subtle ideasmanship.
    • 46 Metascore
    • 50 Wesley Morris
    An arcade game disguised as a love story, nearly comatose with cute.
    • 65 Metascore
    • 50 Wesley Morris
    Plays like a lost Rockford file.
    • 48 Metascore
    • 50 Wesley Morris
    The laserdisc of media movies - it plays fine, but it's clunky and cumbersome.
    • 27 Metascore
    • 50 Wesley Morris
    Doesn't have what it takes to be truly terrible.
    • San Francisco Examiner
    • 40 Metascore
    • 50 Wesley Morris
    More altruistic would be if Williams stopped torturing us with weepy endearments so he could look for that complex clown who used to mug just for laughs.
    • 44 Metascore
    • 50 Wesley Morris
    As cosmetically sanitized revisions of history go: This is as good as it gets.
    • 36 Metascore
    • 50 Wesley Morris
    It's often a lapsed, under-informed documentary with restagings.
    • 61 Metascore
    • 50 Wesley Morris
    A shameless "Shawshank" redux.
    • 49 Metascore
    • 50 Wesley Morris
    As insulting as taking the queen to the Olive Garden.
    • 28 Metascore
    • 50 Wesley Morris
    Timely in that it joins an already mammoth list of bad movies about post-hippie static, including the recent "Steal This Movie."
    • 45 Metascore
    • 50 Wesley Morris
    This is the kind of movie that mistakes heartbreak for being housebroken.
    • 63 Metascore
    • 50 Wesley Morris
    Generates very little heat.
    • San Francisco Examiner
    • 46 Metascore
    • 50 Wesley Morris
    Needs a gritty intervention.
    • 58 Metascore
    • 50 Wesley Morris
    A limp excuse for a coming-of-age flick, more interested in sexploits than sex, more adept at gross-out than girls.
    • 13 Metascore
    • 50 Wesley Morris
    Latest Freddie Prinze Jr. vehicle stalls at on-ramp.
    • San Francisco Examiner
    • 24 Metascore
    • 50 Wesley Morris
    Fails to be the histrionic bubble bath that you want to carry you away.
    • San Francisco Examiner
    • 37 Metascore
    • 50 Wesley Morris
    The best and worst of old school -- retro but stale. Frankenheimer, along with Ben Affleck, donates what cool there is.
    • 40 Metascore
    • 50 Wesley Morris
    There's the world-alteringly scary possibility that (Leder) might be trying to kill us with a star-studded "After School Special."
    • San Francisco Examiner
    • 34 Metascore
    • 50 Wesley Morris
    It also goes out of its way to give you a schlocky B-movie vibe by wrangling bait in the form of a bunch of Big-Gulp stupid stock characters - that's a whopping 44 oz. more stupid than you probably were bargaining for.
    • 63 Metascore
    • 50 Wesley Morris
    The Patriot makes the Revolutionary War look like super-produced studio footage of the L.A. riots.
    • 33 Metascore
    • 50 Wesley Morris
    There's more gymnastic yammering in Loving Jezebel than in a season of "Dawson's Creek."
    • 68 Metascore
    • 50 Wesley Morris
    Implausibly dainty.
    • 67 Metascore
    • 50 Wesley Morris
    Leans so heavily on its stars that their performances are marred by their emptiness.
    • 56 Metascore
    • 50 Wesley Morris
    It's hard not to like a movie like Men of Honor, but it's entirely possible.
    • 42 Metascore
    • 50 Wesley Morris
    The absence of substance, or its banishment, and the director's reliance on allure (in the film's casting and in its look and sound, which features haunting music by Beethoven and Chopin), leave Innocence with the quasi-profound, giggly overreach of a magazine layout come to shameless, shallow life.
    • 58 Metascore
    • 50 Wesley Morris
    Brown Sugar fails to produce an image of hip-hoppery as fascinating and complex as the moment when Halle Berry set her tongue wagging during a ghetto-fabulous grind with Warren Beatty in ''Bulworth.''
    • 45 Metascore
    • 50 Wesley Morris
    Studding your movie with friends, admirers, and sycophants is having a ball; it does not bring us to question the illusory power of cinema or the politics of entertainment.
    • 40 Metascore
    • 50 Wesley Morris
    He doesn't just kill a good buzz. He bludgeons it.
    • 58 Metascore
    • 50 Wesley Morris
    There are moments when Hill and Giler dare to turn Undisputed into an episode of ''Oz'' - albeit an insipid, belligerence-, and sex-free episode.
    • 49 Metascore
    • 50 Wesley Morris
    There's something wrong with this picture, and the problem is there on Smith's face -- Smith looks distressingly I-was-an-Oscar-nominee bored. That goes double for Jones.
    • 48 Metascore
    • 50 Wesley Morris
    Every minute of the film is trash, and director Carl Franklin seems to know it.
    • 68 Metascore
    • 50 Wesley Morris
    Hopped up on standard action riffs, most of the film feels like hand-me-downs purchased from the John Woo outlet.
    • 52 Metascore
    • 50 Wesley Morris
    Narrated from start to close by an 8-year-old, it often seems like a coloring book on tape.
    • 37 Metascore
    • 50 Wesley Morris
    Attempts none of the witty, provocative visual and metaphysical set pieces from any of the ''Nightmare'' movies. And it offers none of the real fright of the early ''Friday the 13th'' films. In fact, the movie is deeply, proudly unimaginative.
    • 54 Metascore
    • 50 Wesley Morris
    Like a Bond picture with no spies or villains or car chases or gadgets or explosions.
    • 51 Metascore
    • 50 Wesley Morris
    More vulgar than funny.
    • 64 Metascore
    • 50 Wesley Morris
    It's an exasperating exercise in B-movie hokum and screenwriter's gimmickry.
    • 45 Metascore
    • 50 Wesley Morris
    Freeman and Hunter are both overqualified for material this ponderous, but she plays along, while he appears to have made a minimal emotional investment in the oncoming avalanche of coincidences and cliches.
    • 53 Metascore
    • 50 Wesley Morris
    A cheery version of a darker, grislier movie, one in which people like Daniel beat up people like Charlie, girls like Vicky end up in far more compromising positions, and women like Celia turn to Scotch and prescription drugs to cope with their pain.
    • 47 Metascore
    • 50 Wesley Morris
    Not particularly good -- meaning navigable, remotely entertaining, pleasing to the eye -- it does, rather nobly, want to hip its audience to gender fluidity.
    • 63 Metascore
    • 50 Wesley Morris
    Despite the Gallic source material, what we truly have in Unfaithful is a tasteful, adult-contemporary ''Fatal Attraction'' redux, right down to the mister's Soho address and the happy family tucked away in the New York hinterlands.
    • 38 Metascore
    • 50 Wesley Morris
    Rossellini doesn't do much more than show up and be a hundred kinds of ravishing. Yet there's a movie in her ageless face and that untamed bouffant.
    • 57 Metascore
    • 50 Wesley Morris
    Somewhere in this movie, amid the ponderous exchanges and unfortunate O. Henry-style coincidences, there's American tragedy.
    • 36 Metascore
    • 50 Wesley Morris
    It's too long and self-consciously progressive to be entertaining, but it's too well-intentioned to be dismissed altogether.
    • 57 Metascore
    • 50 Wesley Morris
    The unworthy new Hollywood remake of Japan's horror phenomenon, ''Ring,'' has packed on a definite article and a whole lot of hooey.
    • 72 Metascore
    • 50 Wesley Morris
    If there's nothing here for romantics, there's even less for gourmands. Nettelbeck fails to produce a good food metaphor, let alone an impressive, palate-aching preparation montage
    • 45 Metascore
    • 50 Wesley Morris
    For a movie with such a misplaced sense of history, The Scorpion King seems afraid to have more fun with its own stupidity.
    • 25 Metascore
    • 50 Wesley Morris
    Had Stealing Harvard merely been a stupid movie about people stuck in a string of silly moments, it could have gotten by on charm. As written by Peter Tolan and directed by Bruce McCulloch (''Kids in the Hall'') it's a stupid movie about stupid people.
    • 78 Metascore
    • 50 Wesley Morris
    Watching the uncertain and disappointing new apartheid documentary Amandla! A Revolution in Four-Part Harmony'' is like going to the lecture of an impassioned but really disorganized professor.
    • 47 Metascore
    • 50 Wesley Morris
    Uses lots of stock footage and takes looks back at America's big transitional period as though the era came in a can.
    • 18 Metascore
    • 50 Wesley Morris
    Even 007 is a big old queen. Yes, Roger Moore's on board as a lusty codger, who, unlike the rest of us, can't get enough of Sanz.
    • 42 Metascore
    • 50 Wesley Morris
    Daredevil the movie strains itself trying to catch up with Sam Raimi's web-slinging megasmash. It's a faceless copy, right down to the muscle-rock groaning on the soundtrack.
    • 59 Metascore
    • 50 Wesley Morris
    This is a movie about excess. It's excessively long (at least it feels that way), the slo-mo is used in excess (so are the swords), and our heroine, Yuki (Yumiko Shaku), when she does emote, is excessively weepy for a coldblooded assassin.
    • 79 Metascore
    • 50 Wesley Morris
    Full of action, but no soul.

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