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

Wesley Morris' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 The Edge of Heaven
Lowest review score: 0 Luminarias
Score distribution:
1,825 movie reviews
    • 44 Metascore
    • 50 Wesley Morris
    As cosmetically sanitized revisions of history go: This is as good as it gets.
    • 57 Metascore
    • 50 Wesley Morris
    Mostly, Smart People is a failure of imagination.
    • 38 Metascore
    • 50 Wesley Morris
    Little Nicky is but a meek gross-out cousin of "The Waterboy."
    • 49 Metascore
    • 50 Wesley Morris
    There's something wrong with this picture, and the problem is there on Smith's face -- Smith looks distressingly I-was-an-Oscar-nominee bored. That goes double for Jones.
    • 37 Metascore
    • 50 Wesley Morris
    Waist Deep is a cynical excuse for the writer and director (and talented actor) Vondie Curtis-Hall to sock some money away for the kids' college tuition. It's as if he watched "Get Rich or Die Tryin' " and thought, "It needs more palm trees."
    • 81 Metascore
    • 50 Wesley Morris
    All the movie's good style goes to waste on a not terribly compelling conceit and loosely sketched characters.
    • 50 Metascore
    • 50 Wesley Morris
    It's the sort of movie that thinks cutting between two different stories makes it art. Usually, it feels like an exercise in art. There's a lot of calisthenics but very little beauty or truth or whatever it is the movie is going for.
    • 64 Metascore
    • 50 Wesley Morris
    Canner is either overwhelmed by so much impressive access to so many alarming business opportunities or lacking the investigative rigor to drive home the moral problems of these drugs and the existential problems of these women.
    • 42 Metascore
    • 50 Wesley Morris
    Reinforcing the chasm between movie magic and wishful thinking.
    • San Francisco Examiner
    • 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.
    • 49 Metascore
    • 50 Wesley Morris
    An au natural (read: graphic) tryst-a-thon whose fashion sense is outweighed only by its bulky sexual intellectualism.
    • 60 Metascore
    • 50 Wesley Morris
    The movie attempts to both explain everything away and pat itself (and Norway) on the back once we see Noa watching President Obama deliver his Nobel Prize speech.
    • 68 Metascore
    • 50 Wesley Morris
    This movie wants to cover every base without thinking very deeply about them. So while a lot of ground is covered in 80 brisk minutes, the information presented is only abstractly useful.
    • 31 Metascore
    • 50 Wesley Morris
    Cop Out seems aptly named. It’s not personal. It’s barely even a movie. It’s a fire hydrant that the director and his stars use for exterior shots.
    • 36 Metascore
    • 50 Wesley Morris
    It's too long and self-consciously progressive to be entertaining, but it's too well-intentioned to be dismissed altogether.
    • 67 Metascore
    • 50 Wesley Morris
    I can't say why Coppola wanted to spend time with this man. It's like following someone on Twitter who fails to generate many compelling tweets.
    • 35 Metascore
    • 50 Wesley Morris
    So light it should wind up on the ''diet" shelf of the video store.
    • 48 Metascore
    • 50 Wesley Morris
    Everyone in this overstaffed showbiz sampler has been better somewhere else. An assortment of talented comedians, character actors, professional athletes, sports commentators, one rapper, and two former sitcom stars sit in this movie like too much food on a buffet cart.
    • 55 Metascore
    • 50 Wesley Morris
    In attempting to show us a love blind to class, culture, and color, she's (Chadha) also made it bland.
    • 37 Metascore
    • 50 Wesley Morris
    The Words aspires to depths greater than the sex we never see these two have. There's nothing for the eye to do while the ear fills with the banalities of two streams of narration, one by Dennis Quaid, the other by Jeremy Irons, all of it built around a lie.
    • 48 Metascore
    • 50 Wesley Morris
    For a little while, comedy ensues.
    • 45 Metascore
    • 50 Wesley Morris
    Paltrow makes the part look natural. She's not impersonating an actual singer, so she seems merely like a twangy, alcoholic version of herself. She should be stopped from dancing in enormous arenas, but her thin voice is rather pretty.
    • 65 Metascore
    • 50 Wesley Morris
    Jolie doesn't seem entirely bored with the routine. She has a laugh or two at her bionic image: Evelyn is a woman who uses a maxi pad as a bandage.
    • 62 Metascore
    • 50 Wesley Morris
    "Rear Window" never comes up in the Disturbia press notes, which is probably just as well since it steals that movie's premise but none of Alfred Hitchcock's wit, finesse, or seduction.
    • 37 Metascore
    • 50 Wesley Morris
    The film is nothing to be ashamed of (especially if you're Kingsley). But it's as if everybody involved knows what the deal is.
    • 55 Metascore
    • 50 Wesley Morris
    One wants to find enlightenment - or at least entertainment - in this reconsideration of Playboy and of Hefner. But it's tainted.
    • 45 Metascore
    • 50 Wesley Morris
    The movie is generic and shallow in its glimpse of the love and sex lives of a handful of young New Yorkers.
    • 31 Metascore
    • 50 Wesley Morris
    By Hollywood standards, a movie carried with such gusto by a 67-year-old woman has to be considered a miracle. And I'm not sorry to say I enjoyed watching her do it.
    • 48 Metascore
    • 50 Wesley Morris
    Every minute of the film is trash, and director Carl Franklin seems to know it.
    • 76 Metascore
    • 50 Wesley Morris
    It's scant to the point of irrelevance.

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