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

Wesley Morris' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Day Night Day Night
Lowest review score: 0 From Justin to Kelly
Score distribution:
1,825 movie reviews
    • 81 Metascore
    • 100 Wesley Morris
    The usual emphasis in a detective film is upended so that procedure, thrillingly, is more important than action. In its own way, this is one of the most intense cop movies you'll see.
    • 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.
    • 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.
    • 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.
    • 81 Metascore
    • 100 Wesley Morris
    One of the truest, most beautiful movies ever made about two strangers.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • San Francisco Examiner
    • 81 Metascore
    • 88 Wesley Morris
    It's the boys' most immediately gratifying movie: The goods are delivered in a hearse.
    • San Francisco Examiner
    • 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.
    • San Francisco Examiner
    • 85 Metascore
    • 88 Wesley Morris
    Soberly, deeply effective.
    • San Francisco Examiner
    • 61 Metascore
    • 88 Wesley Morris
    A movie too smart and too urgent to be categorically awful. Clinically insane may be another matter altogether.
    • San Francisco Examiner
    • 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.
    • San Francisco Examiner
    • 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
    • San Francisco Examiner

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