Wes Greene

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Slant Magazine
For 146 reviews, this critic has graded:
  • 32% higher than the average critic
  • 3% same as the average critic
  • 65% lower than the average critic
On average, this critic grades 7.5 points lower than other critics. (0-100 point scale)

Wes Greene's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 88 I Touched All Your Stuff
Lowest review score: 12 Happy Birthday
Score distribution:
  1. Positive: 81 out of 146
  2. Mixed: 38 out of 146
  3. Negative: 27 out of 146
146 movie reviews
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    • 81 Metascore
    • 50 Wes Greene
    The Voice of Hind Rajab
    Watching actors interact with an authentic recording of a child on the brink of death is less an invitation to audiences to wrestle with the horrors of war and more with the ethics of the film’s creative choices.
    • 47 Metascore
    • 50 Wes Greene
    The Seeding
    Ironically for a film that unfolds almost entirely in a single, contained location, The Seeding is all over the place.
    • 70 Metascore
    • 50 Wes Greene
    War Pony
    The filmmakers never effectively detail the characters’ relation to the various cultural, psychological, or historical intricacies of their milieu.
    • 71 Metascore
    • 50 Wes Greene
    Falcon Lake
    The inadvertent effect of the oppressive, almost overbearing gloom that shrouds Falcon Lake is that it manages to sap the life out of its initially carefree depiction of young people’s emotional lives.
    • 71 Metascore
    • 50 Wes Greene
    The Menu
    For as potent as the film’s shocks can be in the moment, it’s difficult to shake off that the screenplay lacks for the breadth of variety that’s necessary to make more than just a restaurant’s tasting menu take flight.
    • 65 Metascore
    • 50 Wes Greene
    The Phantom of the Open
    The film loses its satiric edge as it begins to melodramatically detail how Maurice Flitcroft inherited the mantle of folk hero.
    • 79 Metascore
    • 50 Wes Greene
    The Innocents
    The Innocents adopts a slasher-esque vibe that, however airlessly aestheticized, feels lurid for the sake of being lurid.
    • 56 Metascore
    • 50 Wes Greene
    Infinite Storm
    Not only does Infinite Storm lack for a complete vision, it’s all too comfortable in settling for mawkishness.
    • 49 Metascore
    • 50 Wes Greene
    Last Looks
    Throughout Last Looks, the filmmakers tend to a conventional mystery that could have benefited from more satiric intention.
    • 49 Metascore
    • 50 Wes Greene
    Venom: Let There Be Carnage
    The title isn’t only a promise of so much destruction to come, but also inadvertently an assurance that its most action-packed sequences will be defined by loudness, incoherence, and pointless cruelty.
    • 46 Metascore
    • 50 Wes Greene
    Reminiscence
    Reminiscence’s noir adornments inadvertently feel closer to parody than loving homage.
    • 72 Metascore
    • 50 Wes Greene
    Nine Days
    Writer-director Edson Oda never really puts a unique spin on the familiar story of otherworldly figures peering in on the lives of the living.
    • tbd Metascore
    • 50 Wes Greene
    Kid Candidate
    The film doesn’t leave us with a complex sense of Hayden Pedigo as a person and political candidate trying to take on an unjust system.
    • 64 Metascore
    • 50 Wes Greene
    Gaia
    After a while, the film’s elaborate, often breathtaking special effects come to feel like it’s only source of complexity.
    • 59 Metascore
    • 50 Wes Greene
    The Secret Garden
    In lieu of pluming the emotional states of the characters, the film resorts to a whimsical, otherworldly fantasy element as an easy resolution.
    • 77 Metascore
    • 50 Wes Greene
    Linda Ronstadt: The Sound of My Voice
    It isn’t long into the film when the hagiographic soundbites from famous interviewees become the dominant mode.
    • 82 Metascore
    • 50 Wes Greene
    Maiden
    Director Alex Holmes ultimately takes a frustratingly simplistic approach to his thematically rich material.
    • 63 Metascore
    • 50 Wes Greene
    If the Dancer Dances
    It's less of an insightful backstage documentary than a gushing, sycophantic love letter to the late Merce Cunningham.
    • 56 Metascore
    • 50 Wes Greene
    Weightless
    The title Weightless is an apt description for this stylish but emotionally inert film.
    • 70 Metascore
    • 50 Wes Greene
    All About Nina
    Right out of the gate, the film only sees a kind of blunt irony in this blurring of her public and private selves.
    • 57 Metascore
    • 50 Wes Greene
    Moss
    Daniel Peddle's film emphasizes, for better and worse, the crushing monotony of living in insolated parts of the Deep South.
    • 58 Metascore
    • 50 Wes Greene
    Back to Burgundy
    Cédric Klapisch correlates wine’s complex arrangement of flavors to the complexity of memory itself, which, it should be said, is the most nuanced of the filmmaker’s wine metaphors.
    • 53 Metascore
    • 50 Wes Greene
    My Art
    Laurie Simmons isn’t so much creating art as a means to explore cinema’s effect on identity as she is conducting an act of indulgence.
    • 56 Metascore
    • 50 Wes Greene
    Live Cargo
    The faces in Logan Sandler's film, like the landscapes of the paradise setting, only convey an empty sort of ambiguity.
    • 55 Metascore
    • 50 Wes Greene
    Rainbow Time
    Linas Phillips's contrived sense of follow-through betrays the truthfulness of his initial characterizations.
    • 48 Metascore
    • 50 Wes Greene
    Kampai! For the Love of Sake
    Mirai Konishi's documentary inevitably reveals itself to be an elaborate infomercial for Westerners.
    • 40 Metascore
    • 50 Wes Greene
    Reversion
    It may look like a dream, but it plays like someone reading a congressional report on corporate finagling out loud.
    • 67 Metascore
    • 50 Wes Greene
    Rosenwald
    Director Aviva Kempner profile of Julius Rosenwald suggests a 60 Minutes segment stretched to feature length.
    • 67 Metascore
    • 50 Wes Greene
    Homme Less
    Thomas Wirthensohn frequently sinks into dully positing Mark Reay as something close to the pinnacle of human integrity.
    • 54 Metascore
    • 50 Wes Greene
    Closer to God
    The end result suggests Re-Animator as told through an airless CNN report.
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