Wes Greene

Select another critic »
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
view
per page
    • 62 Metascore
    • 88 Wes Greene
    La Última Película
    The film isn't so much about "the end of cinema" as it is about the people who abuse the medium and their subjects for their own political agenda.
    • 72 Metascore
    • 63 Wes Greene
    Farewell, Herr Schwarz
    The sobering quality that informs both the documentary's aesthetic and content largely suppresses any spontaneity or much-needed moments of levity.
    • 62 Metascore
    • 75 Wes Greene
    Food Chains
    Perhaps Sanjay Rawal's most fascinating excursion into agriculture's dark side is the vineyards of Napa Valley, where the practically Eden-like scenery masks a dreary labor model.
    • 61 Metascore
    • 50 Wes Greene
    The Tower
    As the psychology of the characters hardly connects with their distinctive milieu, the film merely suggests a conventional family drama littered with empty pot-shots at governmental authority.
    • 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.
    • 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.
    • 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.
    • tbd Metascore
    • 63 Wes Greene
    Gringo Trails
    Pegi Vail beautifully edited film somehow addresses a lot, but ultimately says nothing at all.
    • 52 Metascore
    • 50 Wes Greene
    Winter in the Blood
    Its offbeat aesthetic largely flaunts for appeal, suffocating character and thematic ambition underneath its flashiness.
    • 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.
    • 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.
    • 81 Metascore
    • 75 Wes Greene
    Wrinkles
    In its visionary dream and flashback sequences, the film becomes a comment on the rapidly diminished state of traditional animation.
    • 72 Metascore
    • 50 Wes Greene
    Siddharth
    A well-intentioned story of an impoverished father searching for his missing child is muddled by an ambitious sociological agenda in Richie Mehta's film.
    • 84 Metascore
    • 88 Wes Greene
    Northern Light
    The film has an atmosphere of endless experimentation, which compliments the constant revision the subjects apply to their lives in the wake of their economic insecurity.
    • 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.
    • 72 Metascore
    • 63 Wes Greene
    Gore Vidal: The United States of Amnesia
    The unbalanced appraisal of Vidal's life and work in Nicholas Wrathall's documentary diminishes the effect of the writer's engaging dissension of American political policy.
    • 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.
    • 61 Metascore
    • 50 Wes Greene
    Bicycling With Molière
    Even though the subtext about the past and modernity constantly being at odds throughout the setting's changing times is intriguing, the director presents this in a clunky, almost didactic fashion.
    • 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.
    • 69 Metascore
    • 63 Wes Greene
    The Galapagos Affair: Satan Came to Eden
    The material and resources are certainly substantial, but the filmmakers clumsily weave separate stories together without detailing anything beyond a tangential relation.
    • 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.
    • 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."
    • 64 Metascore
    • 75 Wes Greene
    The Party
    The comically rich visual tapestry of Blake Edwards’s The Party still endures.
    • tbd Metascore
    • 75 Wes Greene
    A Bigger Splash
    Jack Hazan’s portrait of David Hockney stands between documentary and fictional film, reality and fantasy.
    • 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.
    • 84 Metascore
    • 88 Wes Greene
    All the President's Men
    All the President’s Men’s masterstroke is how it rejects mythologizing the pivotal history behind it, appropriately forgoing a climax by closing on a simple telex furiously relaying messages. The film doesn’t present two underdogs bringing down a president; it’s two reporters doing business as usual.
Page:

Top Trailers

See all »
See all trailers »