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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    • 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.
    • 32 Metascore
    • 12 Wes Greene
    Lucky Stiff
    Its irritatingly saccharine tone is such that it shuns grappling with certain characters' dubious and perverse behaviors.
    • 54 Metascore
    • 50 Wes Greene
    Closer to God
    The end result suggests Re-Animator as told through an airless CNN report.
    • 54 Metascore
    • 50 Wes Greene
    Felt
    A hollow bit of violence exposes the film's sense of empowerment as nothing more than a harmless sheep masquerading in wolf's clothing.
    • 59 Metascore
    • 38 Wes Greene
    The Wanted 18
    The eccentric artistry calls so much attention to itself as to make the subject of the film feel like an afterthought.
    • tbd Metascore
    • 75 Wes Greene
    Guidelines
    It effectively implies that the subjects' troublemaking is the stuff of transience, a phase before they're ushered into the realm of adult responsibility.
    • 60 Metascore
    • 63 Wes Greene
    (Dis)Honesty: The Truth About Lies
    Yael Melamede doesn't dwell on each of her subjects' stories beyond the condensed version that's related on screen.
    • 59 Metascore
    • 63 Wes Greene
    Seeds of Time
    First-person accounts from individuals most affected by the drop in agricultural productivity are rarely the focus of the film's vision.
    • 75 Metascore
    • 75 Wes Greene
    One Cut, One Life
    The doc emerges not so much as a glimpse into the mind of a dying artist than as a factual drama on how loved ones are impacted by an individual's death.
    • 65 Metascore
    • 38 Wes Greene
    1001 Grams
    In the end, Bent Hamer's view of current international relations comes to down to a treacly rendition of "Kumbaya."
    • 62 Metascore
    • 63 Wes Greene
    Antarctic Edge: 70° South
    It appears afraid of alienating viewers by overloading on scientific jargon, and in the process becomes too attracted to ultimately superfluous anecdotes from her subjects.
    • 30 Metascore
    • 38 Wes Greene
    Kill Me Three Times
    The affectionate humanism that typically laces Simon Pegg's postmodern self-awareness is missing from Kriv Stenders's film.
    • 37 Metascore
    • 50 Wes Greene
    Electric Slide
    Like the characters, the film's exterior flash can't conceal a glaring emptiness.
    • 71 Metascore
    • 50 Wes Greene
    52 Tuesdays
    Sophie Hyde barely elaborates on the toll James's transition takes on him and only superficially as it affects Billie's psyche.
    • tbd Metascore
    • 38 Wes Greene
    Lily & Kat
    It passive-aggressively seems to suggest that anyone who isn't exactly interested in monogamy may be some kind of selfish, intolerable sociopath.
    • 43 Metascore
    • 25 Wes Greene
    Like Sunday, Like Rain
    Frank Whaley never gives these characters a humanizing moment outside of their default personalities, which turns them into cartoon impressions of the worst of each class.
    • 45 Metascore
    • 50 Wes Greene
    Digging Up the Marrow
    In the end, Adam Green reminds us that he's all to eager to go for the easy thrill.
    • 52 Metascore
    • 63 Wes Greene
    Mad As Hell
    The doc is too enamored with Cenk Uygur and his convictions that it hews more closely to being a conventional and one-sided biographical portrait.
    • 69 Metascore
    • 63 Wes Greene
    Above and Beyond
    It may channel the loose, adrenaline-fueled lives of pilots, but the film's inconsistent, often impassive study of this intriguing real-life adventure feels half-told.
    • 45 Metascore
    • 63 Wes Greene
    Still Life
    Its fixation on life's quotidian aspects gives way to a less imaginative focus on an inevitable and overly familiar romance.
    • 62 Metascore
    • 88 Wes Greene
    La Última Película
    The film isn't so much about "the end of cinema" as it is about the people who abuse the medium and their subjects for their own political agenda.
    • 72 Metascore
    • 63 Wes Greene
    Farewell, Herr Schwarz
    The sobering quality that informs both the documentary's aesthetic and content largely suppresses any spontaneity or much-needed moments of levity.
    • 62 Metascore
    • 75 Wes Greene
    Food Chains
    Perhaps Sanjay Rawal's most fascinating excursion into agriculture's dark side is the vineyards of Napa Valley, where the practically Eden-like scenery masks a dreary labor model.
    • 61 Metascore
    • 50 Wes Greene
    The Tower
    As the psychology of the characters hardly connects with their distinctive milieu, the film merely suggests a conventional family drama littered with empty pot-shots at governmental authority.
    • 40 Metascore
    • 38 Wes Greene
    Catch Hell
    The story allows for Ryan Phillippe to indulge in a self-deprecating brand of satire, but he can't work up enough courage to ever make his character--and, by extension, himself--the brunt of any of the film's barbs.
    • 55 Metascore
    • 63 Wes Greene
    Life's a Breeze
    A rigidly predetermined film that runs on the fumes of hackneyed plot points, squandering at nearly every turn a humanistic study of a family's struggle to maintain a tenable bond with one another.
    • 36 Metascore
    • 25 Wes Greene
    Archaeology of a Woman
    It purports to be an incisive character study dramatized through outré "dream logic," but Sharon Greytak's ineptitude at this very Lynchian aesthetic sucks all nuance and spirit out of the film.
    • tbd Metascore
    • 63 Wes Greene
    Gringo Trails
    Pegi Vail beautifully edited film somehow addresses a lot, but ultimately says nothing at all.
    • 52 Metascore
    • 50 Wes Greene
    Winter in the Blood
    Its offbeat aesthetic largely flaunts for appeal, suffocating character and thematic ambition underneath its flashiness.
    • 25 Metascore
    • 12 Wes Greene
    After
    Throughout After, the filmmakers crank the trials of the film's Valentino family up to 11, sans irony or subversion.
    • 65 Metascore
    • 63 Wes Greene
    A Letter to Momo
    It offers a realistic portrayal of Momo's emotional state, but this comes at the expense of a deeper exploration into both the story's lush supernatural landscape and its inhabitants.
    • 81 Metascore
    • 75 Wes Greene
    Wrinkles
    In its visionary dream and flashback sequences, the film becomes a comment on the rapidly diminished state of traditional animation.
    • 72 Metascore
    • 50 Wes Greene
    Siddharth
    A well-intentioned story of an impoverished father searching for his missing child is muddled by an ambitious sociological agenda in Richie Mehta's film.
    • 84 Metascore
    • 88 Wes Greene
    Northern Light
    The film has an atmosphere of endless experimentation, which compliments the constant revision the subjects apply to their lives in the wake of their economic insecurity.
    • 52 Metascore
    • 75 Wes Greene
    Citizen Koch
    Like their earlier Trouble the Water, Carl Deal and Tia Lessin portray men and women yearning for a simple place in society as they become casualties to the self-involvement of larger forces.
    • 72 Metascore
    • 63 Wes Greene
    Gore Vidal: The United States of Amnesia
    The unbalanced appraisal of Vidal's life and work in Nicholas Wrathall's documentary diminishes the effect of the writer's engaging dissension of American political policy.
    • 45 Metascore
    • 25 Wes Greene
    A Night in Old Mexico
    Red is the kind of lazily written, thankless curmudgeon role that uses the trials of advanced age for cheap laughs rather than harnessing a veteran actor's talent to engage our empathy.
    • 61 Metascore
    • 50 Wes Greene
    Bicycling With Molière
    Even though the subtext about the past and modernity constantly being at odds throughout the setting's changing times is intriguing, the director presents this in a clunky, almost didactic fashion.
    • 45 Metascore
    • 38 Wes Greene
    Hank and Asha
    As the film is focused solely through the lens of the titular characters' cameras, this limits the exploration of the story's worldview outside of Hank and Asha's perspective.
    • 69 Metascore
    • 63 Wes Greene
    The Galapagos Affair: Satan Came to Eden
    The material and resources are certainly substantial, but the filmmakers clumsily weave separate stories together without detailing anything beyond a tangential relation.
    • 69 Metascore
    • 63 Wes Greene
    Hide Your Smiling Faces
    Daniel Patrick Carbone's pensive style, so dotted with ethnographic detail, is interested in revealing a world in flux, but his fixation on death is so incessant that it situates the film as a morose fetish object.
    • 28 Metascore
    • 38 Wes Greene
    Maladies
    It borders on parody as it tries to portray its hero as martyrdom-bound genius, which makes the film feel as if it was made by Franco's vain, art-fetishizing character from "This Is the End."
    • 64 Metascore
    • 75 Wes Greene
    The Party
    The comically rich visual tapestry of Blake Edwards’s The Party still endures.
    • tbd Metascore
    • 75 Wes Greene
    A Bigger Splash
    Jack Hazan’s portrait of David Hockney stands between documentary and fictional film, reality and fantasy.
    • 53 Metascore
    • 75 Wes Greene
    Hong Kong Trilogy: Preschooled Preoccupied Preposterous
    Throughout, Christopher Doyle acknowledges that time and reality are often marked by a slippery subjectivity.
    • 84 Metascore
    • 88 Wes Greene
    All the President's Men
    All the President’s Men’s masterstroke is how it rejects mythologizing the pivotal history behind it, appropriately forgoing a climax by closing on a simple telex furiously relaying messages. The film doesn’t present two underdogs bringing down a president; it’s two reporters doing business as usual.
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