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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    • 59 Metascore
    • 63 Wes Greene
    Amnesia
    Amnesia ultimately delivers rich insights about its main characters’ relationship to their backgrounds.
    • 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.
    • 59 Metascore
    • 38 Wes Greene
    Together
    Together’s dramaturgy perfectly, if unintentionally, underscores the suffocating nature of pandemic living.
    • 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.
    • 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.
    • 57 Metascore
    • 63 Wes Greene
    Last Letter from Your Lover
    Across the film, director Augustine Frizzell balances a dynamic aesthetic energy with a generosity of spirit.
    • 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.
    • 57 Metascore
    • 38 Wes Greene
    Baby Ruby
    The film’s depiction of the fear and uncertainty of motherhood gives in to monotony.
    • 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.
    • 56 Metascore
    • 50 Wes Greene
    Weightless
    The title Weightless is an apt description for this stylish but emotionally inert film.
    • 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.
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