Wesley Morris

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For 1,828 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 2.2 points lower than other critics. (0-100 point scale)

Wesley Morris' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 A Separation
Lowest review score: 0 Mission to Mars
Score distribution:
1828 movie reviews
    • 24 Metascore
    • 25 Wesley Morris
    Brutally dumb canine comedy.
    • 72 Metascore
    • 75 Wesley Morris
    Plays like a holy, erotic mood piece, steeped in so much subdued jungle fever that it practically runs on photosynthesis.
    • 78 Metascore
    • 63 Wesley Morris
    The film feels like bare- bones docu-fiction, though, resisting the attendant drama until the bitter, grisly end.
    • 73 Metascore
    • 75 Wesley Morris
    The director has concocted a tragedy that actually feels tragic.
    • 57 Metascore
    • 50 Wesley Morris
    Osmosis is really an occasion for the brothers to take their culture- debasing scatology to a PG crowd.
    • 18 Metascore
    • 25 Wesley Morris
    At least one chapter in the yet-to-be-written book "When Bad Movies Happen to Good People" belongs to the folks of Company Man.
    • 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.
    • 25 Metascore
    • 25 Wesley Morris
    This plot leaves ample room for viewers to sweat the small stuff, like whether Trevor Nunn's score is more Marines ad or deodorant commercial.
    • 61 Metascore
    • 75 Wesley Morris
    Even when the movie is bad -- it's addictively so.
    • 60 Metascore
    • 75 Wesley Morris
    At its most compulsive, this is the only action flick you'll need this summer.
    • 79 Metascore
    • 100 Wesley Morris
    A vicious horror flick with an actual beast and someone who just acts like one.
    • 47 Metascore
    • 25 Wesley Morris
    The laughs come in all the wrong places when they come at all.
    • 51 Metascore
    • 75 Wesley Morris
    In addition to being his filthiest, this is his most free-associative movie. In spite of and because of its homemade look, it's also his funniest.
    • 43 Metascore
    • 75 Wesley Morris
    It's fun, it's kind of somber and it succeeds in making you think about how you might be squandering middle age.
    • 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.
    • 52 Metascore
    • 75 Wesley Morris
    The emphasis here is less on cuteness and romance and more on the "Raiders of the Lost Ark"-style adventure.
    • 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.
    • 13 Metascore
    • 25 Wesley Morris
    The film is like watching Ozzy Osbourne bite the head off a rubber bat -- it's only almost heinous.
    • 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.
    • 52 Metascore
    • 25 Wesley Morris
    Builds into a shapeless riff on the existentialist misery of company.
    • 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.
    • 45 Metascore
    • 25 Wesley Morris
    Wields its Middle America values and moralistic flogging of idiosyncratic lifestyle choices like a flipped bird.
    • 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."
    • 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.
    • 68 Metascore
    • 63 Wesley Morris
    A tedious, soapy romp about overlapping lives and destiny.
    • 39 Metascore
    • 63 Wesley Morris
    A movie drunk on its very existence, one that misses more frequently than it hits and couldn't care less.
    • 52 Metascore
    • 38 Wesley Morris
    Between fights, the film can't even rely on the luxury of Lindo, Isaiah Washington, Russell Wong, Rottweiler rapper DMX or the scary Henry O as Han's father to make it watchable - the dialogue is wreaking more havoc than Li.
    • 50 Metascore
    • 63 Wesley Morris
    It's handsome filmmaking that doesn't surface until the final 25 minutes during which Stevo and company's sense of marginalization achieves the palpable, emotional import that's more expressive than anything its characters' have to bitch about.
    • 25 Metascore
    • 63 Wesley Morris
    Any movie that opens with a Goo Goo Dolls song and ends with a line like "I'm going to live -- just not as long as you" is bound to leave somebody reaching for a Kleenex.
    • San Francisco Examiner

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