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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    • 69 Metascore
    • 63 Wes Greene
    What They Had
    What They Had gracefully coasts on its patient observations of one family’s dynamics, but once the third act hits, Elizabeth Chomko goes about neatly tidying up seemingly every loose end.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 68 Metascore
    • 63 Wes Greene
    First Match
    After a certain point, Olivia Newman's film treats the womanhood of its main character as an afterthought.
    • 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.
    • 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.
    • 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.
    • 77 Metascore
    • 75 Wes Greene
    Have a Nice Day
    The film's pale-hued, Flash-like animation is abundant in detailed backgrounds that make the characters stand out like placards, allowing for Jian's critique of modern China to land with maximum force.
    • 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.
    • 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.
    • 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.
    • 59 Metascore
    • 63 Wes Greene
    Amnesia
    Amnesia ultimately delivers rich insights about its main characters’ relationship to their backgrounds.
    • 67 Metascore
    • 63 Wes Greene
    Band Aid
    At its most honest, the film wrestles with the reluctance or unwillingness of women to fulfill ostensibly requisite roles.
    • 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.
    • 52 Metascore
    • 38 Wes Greene
    Little Boxes
    The film's default mode is to lazily skewer suburbanites as cartoonishly privileged yuppies.
    • 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.
    • 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.
    • 70 Metascore
    • 75 Wes Greene
    Nakom
    Kelly Daniela Norris and T.W. Pittman's film immediately announces itself as a modest triumph of world-building.
    • 61 Metascore
    • 75 Wes Greene
    Antarctica: Ice and Sky
    The documentary advances its cause through an intimately diaristic depiction of hard work done well.
    • 67 Metascore
    • 75 Wes Greene
    Seasons
    Jacques Perrin and Jacques Cluzaud's Seasons is a nature documentary that reveals itself as a story of tragic usurpation.
    • 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.
    • 55 Metascore
    • 50 Wes Greene
    Rainbow Time
    Linas Phillips's contrived sense of follow-through betrays the truthfulness of his initial characterizations.
    • 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.
    • 75 Metascore
    • 75 Wes Greene
    A Family Affair
    Throughout A Family Affair, time is continually collapsed to the point where events separated by many years bleed into one another.
    • 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.
    • 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.
    • 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.
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