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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    • 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.
    • 61 Metascore
    • 75 Wes Greene
    Copshop
    With its pulpy thrills, hyperbolic dialogue, charismatic scumbags, and a score heavy in electronic effects and percussion, the film effortlessly coasts on a gnarly old-school vibe.
    • 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.
    • 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.
    • 41 Metascore
    • 38 Wes Greene
    Cinderella
    With an overload of winking, Kay Cannon’s Cinderella displays a contemptuous attitude toward fairy tales in general.
    • 71 Metascore
    • 75 Wes Greene
    Mogul Mowgli
    The film’s poignancy derives from its profound understanding of its main character’s identity crisis.
    • 59 Metascore
    • 38 Wes Greene
    Together
    Together’s dramaturgy perfectly, if unintentionally, underscores the suffocating nature of pandemic living.
    • 46 Metascore
    • 50 Wes Greene
    Reminiscence
    Reminiscence’s noir adornments inadvertently feel closer to parody than loving homage.
    • 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.
    • 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.
    • 45 Metascore
    • 38 Wes Greene
    The Tomorrow War
    The Tomorrow War is little more than a clunky, Nolan-esque exercise in instruction-manual cinema.
    • 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.
    • 70 Metascore
    • 63 Wes Greene
    Sun Children
    The film tends toward the dramatically monotonous, but its unwavering sense of purpose ensures that it’s also compellingly human.
    • 64 Metascore
    • 50 Wes Greene
    Gaia
    After a while, the film’s elaborate, often breathtaking special effects come to feel like it’s only source of complexity.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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
    • 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.
    • 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.
    • 82 Metascore
    • 50 Wes Greene
    Maiden
    Director Alex Holmes ultimately takes a frustratingly simplistic approach to his thematically rich material.
    • 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.
    • 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.
    • 44 Metascore
    • 25 Wes Greene
    Unicorn Store
    Brie Larson’s directorial debut is nothing so much as a series of quirks.
    • 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.
    • 59 Metascore
    • 75 Wes Greene
    A Land Imagined
    Writer-director Yeo Siew Hua suggests that becoming another person is as easy as dreaming it.
    • 56 Metascore
    • 50 Wes Greene
    Weightless
    The title Weightless is an apt description for this stylish but emotionally inert film.
    • 78 Metascore
    • 88 Wes Greene
    The Grief of Others
    This a much leaner film in terms of narrative incident than In the Family, though it paves the way for Patrick Wang to step into new artistic terrain.
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