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 7.6 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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    • 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.
    • 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.
    • 55 Metascore
    • 50 Wes Greene
    Rainbow Time
    Linas Phillips's contrived sense of follow-through betrays the truthfulness of his initial characterizations.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 67 Metascore
    • 50 Wes Greene
    Rosenwald
    Director Aviva Kempner profile of Julius Rosenwald suggests a 60 Minutes segment stretched to feature length.
    • 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.
    • 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.
    • 41 Metascore
    • 38 Wes Greene
    Cinderella
    With an overload of winking, Kay Cannon’s Cinderella displays a contemptuous attitude toward fairy tales in general.
    • 45 Metascore
    • 38 Wes Greene
    The Tomorrow War
    The Tomorrow War is little more than a clunky, Nolan-esque exercise in instruction-manual cinema.
    • 74 Metascore
    • 38 Wes Greene
    Catherine Called Birdy
    In simplistic and self-congratulatory fashion, the film renders its main character as a sort of feminist crusader who undermines the sexist traditions of her time.
    • 44 Metascore
    • 38 Wes Greene
    Dear Dictator
    The potential comic absurdities of the premise are squandered as soon as the film settles into a tepid coming-of-age tale.
    • 45 Metascore
    • 38 Wes Greene
    Queenpins
    The film’s largely painful humor is informed by the mistaken belief that the main characters’ criminal enterprise is inherently quirky.
    • 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.
    • 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.
    • 52 Metascore
    • 38 Wes Greene
    Little Boxes
    The film's default mode is to lazily skewer suburbanites as cartoonishly privileged yuppies.
    • 50 Metascore
    • 38 Wes Greene
    My Salinger Year
    The film fails to effectively seize on how its main character’s life and work experiences have affected her as a person and artist.
    • 57 Metascore
    • 38 Wes Greene
    Baby Ruby
    The film’s depiction of the fear and uncertainty of motherhood gives in to monotony.
    • 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."
    • 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."
    • 59 Metascore
    • 38 Wes Greene
    Together
    Together’s dramaturgy perfectly, if unintentionally, underscores the suffocating nature of pandemic living.
    • 44 Metascore
    • 38 Wes Greene
    Planetarium
    Given all its clumsily executed genre detours and tonal fluctuations, Rebecca Zlutowski’s film suggests an amateur juggling act.
    • 47 Metascore
    • 38 Wes Greene
    Kate
    Kate will leave you wishing that its narrative possessed the same attention to detail as its elaborately violent action set pieces.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 8 Metascore
    • 25 Wes Greene
    The Haunting of Sharon Tate
    In a film that features Charles Manson and his disciples, there’s something unsavory about presenting Sharon Tate as one of the crazy ones.
    • 39 Metascore
    • 25 Wes Greene
    Ava
    Ava isn’t only banal, but also, in its half-hearted stabs at novel ideas, seemingly content with its banality.
    • 44 Metascore
    • 25 Wes Greene
    Unicorn Store
    Brie Larson’s directorial debut is nothing so much as a series of quirks.
    • 32 Metascore
    • 12 Wes Greene
    Lucky Stiff
    Its irritatingly saccharine tone is such that it shuns grappling with certain characters' dubious and perverse behaviors.
    • tbd Metascore
    • 12 Wes Greene
    Happy Birthday
    It plays like it was written by a bro who just discovered the early films of Quentin Tarantino.
    • 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.
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