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 The Class
Lowest review score: 0 Lost Souls
Score distribution:
1,825 movie reviews
    • 47 Metascore
    • 38 Wesley Morris
    The truth is, indeed, still out there. And when Carter finds it, may he heed its wisdom: Let go.
    • 27 Metascore
    • 38 Wesley Morris
    This isn't a genre-less character study, it's myopic romantic comedy, and watching a woman of Catherine Zeta-Jones's easy carnality and fathomless beauty compete for the attention of Gerard Butler, who's pining for Jessica Biel, is dismaying, like spotting Anna Wintour in line at a soup kitchen.
    • 24 Metascore
    • 38 Wesley Morris
    The Strip makes you appreciate what hard work effortless comedy is.
    • 41 Metascore
    • 38 Wesley Morris
    For Hilton haters, the stupid and grotesque remake of House of Wax will only stoke their schadenfreude.
    • 32 Metascore
    • 38 Wesley Morris
    The lack of sexual tension is astounding.
    • 66 Metascore
    • 38 Wesley Morris
    Stardust certainly could have gone somewhere fun. But the magic and zip you need to get a blimp like this off the ground is scarce.
    • 48 Metascore
    • 38 Wesley Morris
    The casting alone should warn you about what kind of bottom this movie's going to hit.
    • 57 Metascore
    • 38 Wesley Morris
    The movie treats trysting as comedy and yet is stingy with the laughs.
    • 29 Metascore
    • 38 Wesley Morris
    Boring, mediocre movie.
    • 57 Metascore
    • 38 Wesley Morris
    Never achieves the exhilarating feat of exemplifying the types of Hollywood movies it wants to unpack.
    • 47 Metascore
    • 38 Wesley Morris
    Swing Vote is a satire that's afraid to satirize.
    • 28 Metascore
    • 38 Wesley Morris
    It's doom that we're meant to feel here. And repulsion. I hate to say, but I shrugged.
    • 64 Metascore
    • 38 Wesley Morris
    Like so many of these farm-raised films, this one looks polished, but takes no risks, offers no surprises, and contains a final sequence that's laughable for its lack of courage.
    • 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.
    • 48 Metascore
    • 38 Wesley Morris
    There is much to learn from Picasso and Braque Go to the Movies. First, a wealth of sharp professorial minds and great artistic eyes is no guarantee of equivalent documentary moviemaking. Second, when making a sort of thesis statement, it helps to have a thesis.
    • 40 Metascore
    • 38 Wesley Morris
    You could cast this movie with potato chips and still get cheers when one of the bad guys is cuffed. It doesn't matter that none of it is to be believed.
    • 62 Metascore
    • 38 Wesley Morris
    It’s a fascinating story: part genetic mystery, part socio-racial tragedy. However, Laing’s life, despite its inherent melodrama, does not automatically lend itself to the screen.
    • 67 Metascore
    • 38 Wesley Morris
    Watching the movie made me long for the big , risky ideas and entertainingly fearless filmmaking in David O. Russell's "I Heart Huckabees " and Spike Jonze's "Adaptation ," which Kaufman wrote. Both were similarly conceptual escapades, but they let it all hang out.
    • 81 Metascore
    • 38 Wesley Morris
    The secret here is that the movie is rather tasteless. It has the high, slightly nauseating stink of perfume on garbage.
    • 27 Metascore
    • 38 Wesley Morris
    The movie is a work of ambivalence. Is English making fun of these women? Or is she making a pilot for Lifetime?
    • 43 Metascore
    • 38 Wesley Morris
    Good Deeds is the first of the 11 movies he's written and directed to try a one-tone-fits-all approach. Sadly, that tone is funereal, and it's always a beat out of step with the rhythms of both real life and most movies.
    • 40 Metascore
    • 38 Wesley Morris
    Watching Granger and Priya chase each other around a hotel like squirrels in a park, you wonder what these two see in each other.
    • 71 Metascore
    • 38 Wesley Morris
    A one-trick action thriller that feels like a poor cousin of an episode of ''24." Call it ''12."
    • 49 Metascore
    • 38 Wesley Morris
    Franco can be exhilarating in movies -- tremulous, unhinged, a little wild. Here his jaw never stops quivering and his eyes stay welled up, advertising a breakdown that never comes. Not that Myles has a presence a man would fall apart over. She's too professional to drive anybody crazy.
    • 50 Metascore
    • 38 Wesley Morris
    It's actually a pretty lousy thriller.
    • 34 Metascore
    • 38 Wesley Morris
    Finding Home is well meant and earnest but is stretched to almost twice what would have been a comfortable length.
    • 33 Metascore
    • 38 Wesley Morris
    Seeing her (Kidman) in junk like this is a bit like watching the Queen of England eat a Taco Bell chalupa.
    • 51 Metascore
    • 38 Wesley Morris
    Noe's summation is an ideological sucker-punch from a filmmaker who gets off on abusive relationships. He may as well have thrown a big ''whatever'' up on the screen.
    • 42 Metascore
    • 38 Wesley Morris
    The horrible anticipation he [Aja] builds is derailed by a gimmick that makes the twist in, say, ''Fight Club" seem perfectly logical. To say more would be to ruin the movie, and why should I do that when its own makers have done it for you?
    • 36 Metascore
    • 38 Wesley Morris
    At the very least, a movie like this requires coherence to stay afloat. Barring that, it needs a star to distract us.

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