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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    • 75 Metascore
    • 75 Wes Greene
    Nico, 1988
    The unflashy, austere visual style of the film is but a veneer over writer-director Susanna Nicchiarelli's deceptively radical treatment of the musical biopic.
    • 59 Metascore
    • 75 Wes Greene
    All Is True
    It’s an unfussy, intimate chamber drama that’s fearless in confronting the attitudes of its exalted subject.
    • 61 Metascore
    • 75 Wes Greene
    Antarctica: Ice and Sky
    The documentary advances its cause through an intimately diaristic depiction of hard work done well.
    • 82 Metascore
    • 75 Wes Greene
    Sisters with Transistors
    Much of the film’s power comes from a series of deft, often wry juxtapositions between video and audio.
    • 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.
    • 62 Metascore
    • 75 Wes Greene
    Joshy
    The film feels most real, even at its most absurd, when focused on the idea of closure as a kind of fantasy.
    • 69 Metascore
    • 75 Wes Greene
    Feast of the Epiphany
    Its sensitivity to how something as seemingly ordinary as food can have an immense emotional impact is consistently and unobtrusively profound.
    • 78 Metascore
    • 75 Wes Greene
    Long Strange Trip
    The film plays like one of the Grateful Dead's seminal concerts: protracted and digressive, yet intricate in its design.
    • 60 Metascore
    • 75 Wes Greene
    Human Factors
    Despite the mystery of the home invasion becoming increasingly tangential, Human Factors remains a compelling puzzle-box.
    • 75 Metascore
    • 75 Wes Greene
    Monica
    Monica is an unsentimental exploration of its main character’s search for personal fulfillment through human connection.
    • 82 Metascore
    • 75 Wes Greene
    The Killing of Two Lovers
    The film’s cramped compositions hauntingly underline the claustrophobic nature of its protagonist’s life.
    • 83 Metascore
    • 75 Wes Greene
    I Was a Simple Man
    The film’s quietly uncanny narrative wondrously depicts not only a dying man’s reflection on his life, but also the very nature of Hawaii itself.
    • 67 Metascore
    • 75 Wes Greene
    SHOT! The Psycho-Spiritual Mantra of Rock
    Throughout, the content and tenor of certain stories told by Mick Rock ambitiously inform the film’s style.
    • 61 Metascore
    • 63 Wes Greene
    All I Can Say
    The film refuses to shy away from the unvarnished honesty of Blind Melon frontman Shannon Hoon during his brief moment of fame.
    • 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.
    • 58 Metascore
    • 63 Wes Greene
    The House of Tomorrow
    The impressionistic tenor of the unabashedly energetic final sequences is so wondrous that you may wish that writer-director Peter Livolsi had utilized it as The House of Tomorrow's guiding principle.
    • 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.
    • 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.
    • tbd Metascore
    • 63 Wes Greene
    Gringo Trails
    Pegi Vail beautifully edited film somehow addresses a lot, but ultimately says nothing at all.
    • 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.
    • 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.
    • 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.
    • 74 Metascore
    • 63 Wes Greene
    Gagarine
    The film is at its most effective and engaging when simply capturing the vibrancy of a world onto its own.
    • 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.
    • 68 Metascore
    • 63 Wes Greene
    Chavela
    The film's hopscotching-in-time structure, informed by specific remembrances of Chavela Vargas's life, is refreshingly unconventional.
    • 75 Metascore
    • 63 Wes Greene
    Emily the Criminal
    The film may not suffer from didacticism, but it’s at its most volcanic when it promises to blossom into a study of a generation’s financial difficulties.
    • 66 Metascore
    • 63 Wes Greene
    Phantom Boy
    The filmmakers are thankfully willing to render, with unremitting vigor, how grief can batter the human heart.
    • 66 Metascore
    • 63 Wes Greene
    The Tainted Veil
    The filmmakers refuse to promote a political agenda of their own in order to let the varied convictions of others foster a necessary dialogue.
    • 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.
    • 64 Metascore
    • 63 Wes Greene
    Danny Says
    It ends on a muted whimper of a note that one doesn't expect given that the film's subject is such an immensely entertaining raconteur.
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