Wesley Morris

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For 1,837 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 2.9 points lower than other critics. (0-100 point scale)

Wesley Morris' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Hidden
Lowest review score: 0 Lost Souls
Score distribution:
1837 movie reviews
    • 52 Metascore
    • 50 Wesley Morris
    The camera, costumes, and art direction do everything right. Too much so. The movie strips away both the grand weirdness of the circus and the dire desolation of the Depression. Diane Arbus and Dorothea Lange are exchanged for Vanity Fair.
    • 63 Metascore
    • 75 Wesley Morris
    Rio
    Makes the surprising and seemingly inarguable assertion that, if we're not all Brazilian, then, at the very least, Brazil is a state of mind.
    • 65 Metascore
    • 38 Wesley Morris
    The movie is swept up in earnest self-importance.
    • 52 Metascore
    • 50 Wesley Morris
    Scream 4 has a smart beginning, featuring Anna Paquin and Kristen Bell, and one well-delivered line at the end that would have brought down the house in a better movie.
    • 69 Metascore
    • 63 Wesley Morris
    The movie effectively rids you of any notion that owning a cougar or a python is a good idea.
    • 76 Metascore
    • 75 Wesley Morris
    It's as much a portrait of a kind of artist as it is a document of a city's evolving sense of style.
    • 87 Metascore
    • 88 Wesley Morris
    As Apichatpong erases, once again, the barriers between the celestial and terrestrial, he also does away with the cordons between film genres - this is sci-firomancefamilyreligiousthrillercomedyporn. No video service has a section for that. The only suitable shelf is the one in your soul.
    • 53 Metascore
    • 63 Wesley Morris
    The best moments come when Robb's all-purpose toughness experiences vulnerable doubt. These moments are flickers, but they're bright and human.
    • 36 Metascore
    • 50 Wesley Morris
    The new remake of Arthur is a thin copy of the 1981 original. But it has a few things going for it.
    • 38 Metascore
    • 50 Wesley Morris
    Shadyac doesn't film how his change inspires more change, or showing him, say, starting a school for destitute orphans. All we see him give is this movie. It's not much of a contribution.
    • 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.
    • 45 Metascore
    • 63 Wesley Morris
    Miral feels like gastric bypass moviemaking. It's a miniseries awkwardly stuffed in the body of a two-hour drama about the Palestinians' long struggle against the Israelis.
    • 82 Metascore
    • 88 Wesley Morris
    You can see her (Binoche) effect on Kiarostami's filmmaking: She brings out something new in him, too.
    • 41 Metascore
    • 25 Wesley Morris
    Hop
    Hop may have taken years to design and animate, but it feels as if minutes were required to compose it.
    • 71 Metascore
    • 75 Wesley Morris
    By the end, you don't entirely understand either of these people, but you come to understand why they need each other.
    • 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.
    • 67 Metascore
    • 50 Wesley Morris
    But that ending is a whopper all the same: a heartless blast of tragedy, exploitation, amusement, and general flagrance.
    • 57 Metascore
    • 38 Wesley Morris
    Never achieves the exhilarating feat of exemplifying the types of Hollywood movies it wants to unpack.
    • 59 Metascore
    • 63 Wesley Morris
    Basically an addiction thriller in which the thirst is for the acquisition and execution of knowledge. So you need an actor who seems surprised by how smart he is but not afraid to be charmingly intelligent. Cooper turns out to be perfect for the part.
    • 50 Metascore
    • 63 Wesley Morris
    Does a lot of winking and teasing.
    • 70 Metascore
    • 75 Wesley Morris
    The good news is that the movie advertises Dolan's delirious visual talent.
    • 64 Metascore
    • 75 Wesley Morris
    Kaboom lets Araki play with carnality as opposed to cautioning against it.
    • 87 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.
    • 40 Metascore
    • 25 Wesley Morris
    The characterization couldn't be more flagrant if the soundtrack creaked out an oldie by a certain ancient pop quintet: You're a candy girl.
    • 60 Metascore
    • 50 Wesley Morris
    Whether this movie works for you largely depends on whether you're willing to work for it. To which I say: Bring your gym clothes.
    • 44 Metascore
    • 25 Wesley Morris
    Drive Angry is something new for Cage - a movie that feels like it's straight FROM cable.
    • 45 Metascore
    • 75 Wesley Morris
    Hall Pass is the brothers' 10th movie, and their most gangbusters since "Me, Myself & Irene."
    • 70 Metascore
    • 75 Wesley Morris
    The movie shouldn't work, yet it does.
    • 56 Metascore
    • 63 Wesley Morris
    Neeson is much better suited to the loneliness and self-doubt of Martin's crisis than he was for the thuggery of the previous movie.
    • 75 Metascore
    • 88 Wesley Morris
    "Angélica" feels most like the film that argues Oliveira is this close to the beyond without ever bothering to knock first at death's door.

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