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

Wesley Morris' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Climates
Lowest review score: 0 Luminarias
Score distribution:
1825 movie reviews
    • 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.
    • 45 Metascore
    • 50 Wesley Morris
    This movie is the worst episode of ''Gilmore Girls'' ever.
    • 71 Metascore
    • 50 Wesley Morris
    Written in wisps and watery double-entendres by Heather McGowan and Niels Mueller, and the movie is so benign that its proceedings are beside the point.
    • 43 Metascore
    • 50 Wesley Morris
    Its commendable, if juvenile, sense of erogenous adventure is sullied by bland technique, canned suburban punk music, and the fact that all the exploration does amount to maturer characters.
    • 52 Metascore
    • 50 Wesley Morris
    Slow and ultimately distressing.
    • 50 Metascore
    • 50 Wesley Morris
    The result is a cheap and cloying contraption that doesn't know when to stop smirking.
    • 38 Metascore
    • 50 Wesley Morris
    As the eviscerations ensue, the truth becomes undeniable: This is easily the most gruesome, most pointless, episode of "Scooby Doo" ever.
    • 38 Metascore
    • 50 Wesley Morris
    A tall glass of hogwash that's terrified to declare itself the racial-healing melodrama it is.
    • 49 Metascore
    • 50 Wesley Morris
    Notably Wayansless. It's also notably devoid of a point of view.
    • 70 Metascore
    • 50 Wesley Morris
    Long on mood and moodiness, but at a loss as how to break any interesting human ground.
    • 37 Metascore
    • 50 Wesley Morris
    Neither hot nor square, it's as simple and earnest as any after-school special and as cameo-laden as any rap video.
    • 70 Metascore
    • 50 Wesley Morris
    While Prisoners of Paradise gives us but an impression of Gerron's state of mind, the film does a powerful job of showing us how deflated, small, and desperate this boisterous man had become.
    • 37 Metascore
    • 50 Wesley Morris
    The movie is so dependant on its source material that it fails to put Carter, Thompson, Penn, and Christy to better use.
    • 46 Metascore
    • 50 Wesley Morris
    Martin puts a thankless gloss on the antic role he played in "Parenthood." As his wife, Hunt is the movie's saving grace.
    • 46 Metascore
    • 50 Wesley Morris
    It's one TV-movie romp that Kristy McNichol never got around to starring in.
    • 44 Metascore
    • 50 Wesley Morris
    There is no central drama, no surprise, no tension in his comedy. The ads for Along Came Polly make it look so upbeat and simple that you're convinced it must be hiding something, like death or a disease. But the truth is there in the advertising: nothing happens.
    • 37 Metascore
    • 50 Wesley Morris
    Part soap opera and part thriller, and it has the unique characteristic of being both undeveloped and overwritten.
    • 59 Metascore
    • 50 Wesley Morris
    Takes a dedicated and true snapshot of African-American life. But so little of its presentation is memorable. This is a haircut movie that redefines ''fade.''
    • 36 Metascore
    • 50 Wesley Morris
    The movie is only sporadically interesting.
    • 39 Metascore
    • 50 Wesley Morris
    Bland though it is, "Havana Nights" could be the start of a globe-bettering franchise -- and across history, too: "Dirty Dancing: Monticello Mornings"; "Dirty Dancing: Gaza Strip Afternoons."
    • 49 Metascore
    • 50 Wesley Morris
    The movie has none of the embarrassing absurdity and cheap effects that made last year's trip back to the 14th century, "Timeline,'' such a joke. We should be so lucky. Instead, we get a listless avenger drama.

Top Trailers