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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    • 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.
    • 55 Metascore
    • 63 Wes Greene
    Little Pink House
    Courtney Moorehead Balaker's film is mostly a sobering dramatization of a true and controversial story in recent Connecticut history.
    • 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.
    • 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.
    • 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.
    • 52 Metascore
    • 63 Wes Greene
    Gone in the Night
    The film’s ominous atmosphere derives less from the mystery of a disappearance and more from the scary business of getting older.
    • 52 Metascore
    • 38 Wes Greene
    Little Boxes
    The film's default mode is to lazily skewer suburbanites as cartoonishly privileged yuppies.
    • 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.
    • 52 Metascore
    • 50 Wes Greene
    Winter in the Blood
    Its offbeat aesthetic largely flaunts for appeal, suffocating character and thematic ambition underneath its flashiness.
    • 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.
    • 49 Metascore
    • 63 Wes Greene
    Half Magic
    The film displays a sprightly tone and blissful sense of liberation in charting the exploits of characters seeking to live by their own feminine-centric rules.
    • 49 Metascore
    • 75 Wes Greene
    Bullet Train
    David Leitch’s film pulls off the notable feat of making human beings out of cartoonishly violent psychopaths.
    • 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.
    • 37 Metascore
    • 50 Wes Greene
    Electric Slide
    Like the characters, the film's exterior flash can't conceal a glaring emptiness.
    • 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.
    • 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.
    • 46 Metascore
    • 50 Wes Greene
    Reminiscence
    Reminiscence’s noir adornments inadvertently feel closer to parody than loving homage.
    • 46 Metascore
    • 63 Wes Greene
    Come and Find Me
    Aaron Paul possesses an innate everyman quality that lends itself well to writer-director Zack Whedon'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.
    • 45 Metascore
    • 38 Wes Greene
    The Tomorrow War
    The Tomorrow War is little more than a clunky, Nolan-esque exercise in instruction-manual cinema.
    • 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.
    • 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.
    • 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.
    • 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.
    • 44 Metascore
    • 25 Wes Greene
    Unicorn Store
    Brie Larson’s directorial debut is nothing so much as a series of quirks.
    • 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.
    • 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.
    • 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.
    • 41 Metascore
    • 38 Wes Greene
    Cinderella
    With an overload of winking, Kay Cannon’s Cinderella displays a contemptuous attitude toward fairy tales in general.
    • 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.
    • 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.
    • 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.
    • 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.
    • 32 Metascore
    • 12 Wes Greene
    Lucky Stiff
    Its irritatingly saccharine tone is such that it shuns grappling with certain characters' dubious and perverse behaviors.
    • 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.
    • 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."
    • 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.
    • 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.
    • tbd Metascore
    • 63 Wes Greene
    Gringo Trails
    Pegi Vail beautifully edited film somehow addresses a lot, but ultimately says nothing at all.
    • 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.
    • 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.
    • tbd Metascore
    • 75 Wes Greene
    A Bigger Splash
    Jack Hazan’s portrait of David Hockney stands between documentary and fictional film, reality and fantasy.
    • 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.
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