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

Wesley Morris' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Fast Food Nation
Lowest review score: 0 Luminarias
Score distribution:
1,825 movie reviews
    • 83 Metascore
    • 100 Wesley Morris
    Takes one man, his children, their spouses and babies, his ex-wife, his girlfriend, her daughter, and his friends and turns it all into a masterpiece about the strange power of food - to heal, unite, exasperate.
    • 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.
    • 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.
    • 89 Metascore
    • 100 Wesley Morris
    This is a movie whose power comes from the alignment both of Mija's discovery with ours and of a tremendous writer and director with his star.
    • 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.
    • 55 Metascore
    • 100 Wesley Morris
    3
    It's a funny, fearless, suspenseful sex comedy that, in drawing on science and philosophy and art and death, risks accusations of pretentiousness. But, even in its romantic idealism, the movie proceeds according to recognizable rhythms of how some people live.
    • 54 Metascore
    • 100 Wesley Morris
    In an age in which it feels as if seemingly pure intimacy no longer exists, this film thrives on nothing but intimate moments.
    • 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.
    • 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
    One of the truest, most beautiful movies ever made about two strangers.
    • 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.
    • 86 Metascore
    • 100 Wesley Morris
    Nothing as big and strange and right as The Master should feel as effortless as it does. That's not the same as saying that it's light. It's actually heavy. It weighs more than any American film from this or last year. It's the sort of movie that young men aspiring to write the Great American Novel never actually write.
    • 86 Metascore
    • 100 Wesley Morris
    We're now far enough from that era that seeing it all again feels like a slap to the face in the same way that watching certain moments in the civil rights epic "Eyes on the Prize" chills your bones. This doesn't have that series' stately magnitude. It's smaller and crasser, but it's comparatively galvanic.
    • 94 Metascore
    • 88 Wesley Morris
    In The Hurt Locker, the thrill is unexpectedly contagious. You don't realize how riveted you are until you're back on American soil observing James in civilian life.
    • 69 Metascore
    • 88 Wesley Morris
    Frankly, the story isn’t remotely as interesting as Cage. Nothing is. In Ferrara’s movie, Keitel emptied himself out. But there’s a hellion’s joy in Cage’s cop.
    • 82 Metascore
    • 88 Wesley Morris
    The beauty of Let the Right One In resides in the way the horror remains grounded in a tragic kind of love.
    • 89 Metascore
    • 88 Wesley Morris
    It sounds like the old unstoppable-force-meets-immovable-object trick. Ramin Bahrani's Goodbye Solo has the trappings of such a story, but, mercifully, none of the follow-through.
    • 92 Metascore
    • 88 Wesley Morris
    He even calls the majestic view from one of the hospital landings his Cinecittà, after the legendary Italian film studio. The movie is a Cinecittà of the mind.
    • 60 Metascore
    • 88 Wesley Morris
    9
    Any optimism in 9, which is bound to try the fortitude of meeker children, feels hard-won. It actually ends in a bittersweet mystery.
    • 67 Metascore
    • 88 Wesley Morris
    I can't pretend to know fully what Charlie Kaufman is up to in Synecdoche, New York, with all the doubled characters, dreamy reenactments, comical minutiae, and personal unhappiness. But I got a great deal of pleasure out of watching him mount his fantasia about an artist suffering not simply for his art, but because of it.
    • 96 Metascore
    • 88 Wesley Morris
    All the voice work here is excellent, especially Oswalt's. He sounds like Paul Giamatti but with a greater capacity for confidence.
    • 81 Metascore
    • 88 Wesley Morris
    This is also the first of Martel’s films to build in a direction other than up. The film’s lateral movement continues a kind of class commentary.
    • 84 Metascore
    • 88 Wesley Morris
    Revanche was a foreign-language Oscar nominee this year, and it's a better movie than most of the films in the main race. The word "revanche" means "revenge" in German, but "waiting" would have been just as good.
    • 85 Metascore
    • 88 Wesley Morris
    The movies are smart -- smarter than you, but not in an off-putting way. Their basic appeal, especially this new one, is that Matt Damon’s killing machine, Jason Bourne, is the cleverest man on earth. And we thrill to his sense of superiority.
    • 64 Metascore
    • 88 Wesley Morris
    Che
    The labor applied to Che is apparent, but it would be wrong to characterize the movie as laborious the way it was in, say, 2006's "The Good German," where Soderbergh took great pains to re-create 1940s Hollywood wartime glamour.
    • 81 Metascore
    • 88 Wesley Morris
    The film has the perverse intelligence of Cronenberg's other movies. It's not his best, but it is certainly his most accessible, least stagy work, obeying the laws of chronology and serving up characters whom we recognize as people.
    • 67 Metascore
    • 88 Wesley Morris
    In the absolutely moving new documentary Watermarks, seven women in their 80s return to the Vienna swimming pool of their youth.
    • 80 Metascore
    • 88 Wesley Morris
    Judy Irving's terrific documentary 'The Wild Parrots of Telegraph Hill is ostensibly about birds, but only in the way that a game of Scrabble is about tiles.
    • 78 Metascore
    • 88 Wesley Morris
    A smartly observed, unpretentious, and unconventional comedy of manners -- or more properly, it's a comedy of mannerisms.
    • 75 Metascore
    • 88 Wesley Morris
    A collection of beautifully acted encounters, conversations, symbols, and vignettes woven into an evocative and unforgettably surreal garment.

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