Wesley Morris

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Boston Globe, San Francisco Chronicle, San Francisco Examiner, The New York Times
For 1,889 reviews, this critic has graded:
  • 51% higher than the average critic
  • 3% same as the average critic
  • 46% lower than the average critic
On average, this critic grades 5.1 points lower than other critics. (0-100 point scale)

Wesley Morris' Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 How to Survive a Plague
Lowest review score: 0 Lost Souls
Score distribution:
  1. Positive: 1,126 out of 1889
  2. Mixed: 439 out of 1889
  3. Negative: 324 out of 1889
1889 movie reviews
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    • 83 Metascore
    • 75 Wesley Morris
    Bus 174
    Engrossing, smartly made documentary.
    • 83 Metascore
    • 100 Wesley Morris
    Amores Perros
    There's a seething moral core in Amores Perros that uses the canine savagery as an entre to human brutality.
    • 83 Metascore
    • 88 Wesley Morris
    Chop Shop
    Everything about Chop Shop is modest - the movie's scale, the characters' ambitions. Another director might have tried to nudge the film's grim detours toward tragedy. And that might have worked, too. But Bahrani is a refreshingly deceptive director in that sense.
    • 83 Metascore
    • 75 Wesley Morris
    Spider-Man 2
    Raimi seems more comfortable being his outlandishly jokey, B-movie self, letting entire sequences play on the line between carefree schlock and Hollywood blockbusting.
    • 83 Metascore
    • 75 Wesley Morris
    Drag Me to Hell
    Working with his brother Ivan, Sam Raimi is laughing with us - and often louder than we are.
    • 83 Metascore
    • 88 Wesley Morris
    The King of Kong: A Fistful of Quarters
    A portrait of two different men whose compulsion for Donkey Kong is hilarious.
    • 83 Metascore
    • 75 Wesley Morris
    Up in the Air
    At its best, Up in the Air invents new realms for old Hollywood sophistication.
    • 83 Metascore
    • 100 Wesley Morris
    Milk
    By nearly every measure, Milk is a beautifully made, far less conventional movie biography than most.
    • 83 Metascore
    • 75 Wesley Morris
    The Flat
    There's something touching about the way Goldfinger obeys his moral compass. He doesn't seem at all happy with that luxury. It's a burden by a more extravagant name.
    • 83 Metascore
    • 63 Wesley Morris
    Footnote
    Footnote culminates with stirring gravity that you wish Cedar had the confidence - in himself, his material, and us - to sustain. Both Uriel's dilemma and his father's are unenviable, even as you understand the deep guilt, sense of conflict, and hubris this mix-up provokes.
    • 83 Metascore
    • 63 Wesley Morris
    Trouble the Water
    The film is so immersed in Roberts's life that it becomes easy to think that most of what the camera sees is also from her perspective. It's actually too seamless.
    • 83 Metascore
    • 90 Wesley Morris
    Misericordia
    Misericordia is film noir with the lights turned on. Even when its characters are working your nerves, it tickles. Guiraudie is playing those nerves like a harp.
    • 33 Metascore
    • 25 Wesley Morris
    The Haunting in Connecticut
    There is still a great horror movie about foreclosure to be made. In the meantime, this movie plays games. (How many rounds of hide-and-seek should an audience tolerate?)
    • 83 Metascore
    • 100 Wesley Morris
    Election
    With Election, Payne announces himself as one of the keenest purveyors of the scattered pieces that once was an American morality.
    • 82 Metascore
    • 88 Wesley Morris
    Memories of Murder
    What's most remarkable about it is the way Bong builds real suspense and plays the chilling moments straight while leaving himself room for nonsense and horseplay. He seems completely at ease with the marriage of the silly with the serious. Only time can reveal whether he's a master filmmaker, but this, at least, is a masterful performance.
    • 82 Metascore
    • 100 Wesley Morris
    Pride & Prejudice
    Jane Austen's novel has been rejiggered into a jaunty romantic comedy that leaves us as incandescently happy as its characters.
    • 51 Metascore
    • 40 Wesley Morris
    Marry Me
    Marry Me is a sad tale that’s too busy leaping from plot point to plot point for Lopez to express anything close to real. It tells a lot and shows nothing.
    • 82 Metascore
    • 60 Wesley Morris
    Taylor Swift: The Eras Tour
    It’s a shame that the shots here are all over the place — the stage, the sky, too close, too far, too kinetic; only occasionally, in medium close-ups, just right. The director is Sam Wrench, and it’s unclear whether he’s making a movie or a salad. Under the circumstances, he’s done the best he probably could.
    • 82 Metascore
    • 88 Wesley Morris
    Three Times
    Another triumph of modesty from a master who deserves real, paying audiences, not just the adoration of besotted film critics.
    • 82 Metascore
    • 63 Wesley Morris
    Tell No One
    Once the final character has put the last puzzle piece in place, courtesy of an epic explanation, a kind of relief sets in: Someone just needed to spell it all out. It does not entirely help.
    • 82 Metascore
    • 75 Wesley Morris
    The Deep Blue Sea
    Rachel Weisz has become an exquisite camera artist. In a single shot, she can open up a whole movie. The Deep Blue Sea has a scene like that.
    • 82 Metascore
    • 88 Wesley Morris
    A History of Violence
    The film has the perverse intelligence of Cronenberg's other movies. It's not his best, but it is certainly his most accessible, least stagy work, obeying the laws of chronology and serving up characters whom we recognize as people.
    • 82 Metascore
    • 75 Wesley Morris
    The Wind That Shakes the Barley
    The historical scope of this story, as well as Loach's interest in absolute fairness, seems to have drained some of the life from its telling.
    • 82 Metascore
    • 100 Wesley Morris
    Crimson Gold
    This is the first beautiful performance in the year's first great movie.
    • 82 Metascore
    • 88 Wesley Morris
    Harry Potter and the Prisoner of Azkaban
    [Cuaron]'s a visionary and crafty storyteller who rewards your patience, not with twists in the plot, though the movie has its share, but with pure feeling. Deploying wit, grace, and artistry, he's whisked a kid flick into adolescence.
    • 82 Metascore
    • 63 Wesley Morris
    Downfall
    A bizarre film.
    • 82 Metascore
    • 88 Wesley Morris
    Let the Right One In
    The beauty of Let the Right One In resides in the way the horror remains grounded in a tragic kind of love.
    • 82 Metascore
    • 88 Wesley Morris
    Certified Copy
    You can see her (Binoche) effect on Kiarostami's filmmaking: She brings out something new in him, too.
    • 82 Metascore
    • 88 Wesley Morris
    Taxi to the Dark Side
    The film quickly becomes one of the most powerful, carefully researched investigations of the moral-legal side effects of current American military campaigns in Afghanistan and Iraq. It's terrifying in a way that sneaks up on you.
    • 82 Metascore
    • 90 Wesley Morris
    Sorry We Missed You
    There’s no way for Loach to have gone smaller. When the movie’s over, you have, indeed, witnessed a tragedy, just not the usual kind. Nobody dies. No one goes to prison (there is one police-station visit unlike any I’ve seen). But life: that’s the tragedy, what it takes to get by, what it takes be just a little bit happy — for one lousy meal.
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