Wesley Morris
Select another critic »For 1,860 reviews, this critic has graded:
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51% higher than the average critic
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3% same as the average critic
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46% lower than the average critic
On average, this critic grades 3.7 points lower than other critics.
(0-100 point scale)
Wesley Morris' Scores
- Movies
- TV
Average review score: | 60 | |
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Highest review score: | Amores Perros | |
Lowest review score: | Men Cry Bullets |
Score distribution:
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Positive: 1,110 out of 1860
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Mixed: 430 out of 1860
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Negative: 320 out of 1860
1860
movie
reviews
- By Date
- By Critic Score
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- Wesley Morris
It’s bad, the sort of bad that knows what it is — campy rather than camp. “Campy” is camp with a diploma and a martini. And “Christmas on the Square” is a drunk.- The New York Times
- Posted Nov 25, 2020
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- Wesley Morris
The King of Staten Island is one of those 10-block-radius life slices whose smallness and intimacy ought to be a virtue. But the movie seems afraid of itself.- The New York Times
- Posted Jun 11, 2020
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- Wesley Morris
The Italian movie, which Paolo Virzì directed, had a marrow-deep instinct for class. There were higher costs. The people in it were stranger, with sharper angles; they were alive. This new movie, which Oren Moverman wrote, Marc Meyers directed and has parts for Liev Schreiber and Marisa Tomei, is a character study that hasn’t done its homework.- The New York Times
- Posted Mar 19, 2020
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- Wesley Morris
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.- The New York Times
- Posted Mar 4, 2020
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- Wesley Morris
Wilson has captured Swift at a convincing turning point, ready, perhaps, to say a lot more.- The New York Times
- Posted Jan 30, 2020
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- The New York Times
- Posted Aug 15, 2019
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- Wesley Morris
The whole thing just makes me miss how horny and violent movies used to be. Here, all the violence is sex. Only, it’s not. It’s just winking.- The New York Times
- Posted Aug 1, 2019
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- Wesley Morris
I liked the deluge of visual information and personalities. The pictures, footage, biography, news and gossip are the opposite of a Halston dress — unruly, busy, fussed over. But they come at you with an energy that feels substantial. Knowing what to do with all of that material is its own kind of intelligence. Why overthink it? Or: why show us what you’ve overthought?- The New York Times
- Posted May 23, 2019
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- Wesley Morris
The movie is warm, observant, mildly philosophical and deeply curious about the daily and inner lives of both the people and their four-legged assistants.- The New York Times
- Posted Mar 19, 2019
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- Wesley Morris
All of that observation in Babylon amounts to something that still feels new. You’re looking at people who, in 1980 England, were, at last, being properly, seriously seen.- The New York Times
- Posted Mar 9, 2019
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- Wesley Morris
You can see what this movie is after, something cockeyed but sincere, something in the neighborhood of Paul Mazursky, Elaine May or Alexander Payne. But the writing and filmmaking (Snyder directed) just aren’t quick enough.- The New York Times
- Posted Feb 7, 2019
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- Wesley Morris
More than half the reason I went to see this movie is because I miss “Fool’s Gold,” too. But that movie is 11 years old. And the days of low-stakes thingamabobs with some stars and even a little bit of writing are gone. Instead of a caper with Kate Hudson, McConaughey has got a mess written and directed by Steven Knight.- The New York Times
- Posted Jan 24, 2019
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- Wesley Morris
Fyre needs another layer. You can locate in it this national moment of brashness and effrontery.- The New York Times
- Posted Jan 16, 2019
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- The New York Times
- Posted Dec 19, 2018
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- Wesley Morris
It’s just two and a half years of — sorry, two and a half hours — of oceanic screen savers and hair that won’t stop undulating so we know when we’re underwater.- The New York Times
- Posted Dec 19, 2018
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- Wesley Morris
Something feels off with von Trier’s sense of artistry now. Something feels stuck, like his head’s wound up lodged in his rear, which brings the movie closer to “The Human Centipede” than I would have thought. But this isn’t cinematic horror. It’s proctology.- The New York Times
- Posted Dec 13, 2018
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- Wesley Morris
The more time Khaled’s camera takes to wend its way around Hassane’s suspended body, the more its caresses seem to match all the embracing and caressing Hassane’s friend does. And the more time the movie devotes to the parts of this one man’s body the more that care seems to stand in for a country’s neglected whole.- The New York Times
- Posted Dec 13, 2018
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- Wesley Morris
It’s impressive that Alami can put all this across — romance, suspense and, in the moving final act, a kind of tragedy — and maintain the movie’s nimbleness. But he’s a natural storyteller.- The New York Times
- Posted Dec 4, 2018
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- Wesley Morris
You get both the most lovely gaze a professional camera’s ever laid upon Aretha Franklin and some of the mightiest singing she’s ever laid on you. The woman practically eulogizes herself. Don’t bother with tissues. Bring a towel.- The New York Times
- Posted Nov 29, 2018
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- Wesley Morris
Mr. Faraut’s impressionistic conflation of humor, wonder, horror and sympathy whisks this movie to the deluxe suite of the pleasure palace.- The New York Times
- Posted Aug 21, 2018
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- Wesley Morris
Ms. Streep’s near total absence leaves a hole Cher is expected to fill. It’s too little, way too late, of course, and because it’s Cher, it’s also too much.- The New York Times
- Posted Jul 18, 2018
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- Wesley Morris
Whitney is too funereal to be a party, too sad, strange and dismaying to cheer. Yet, in its grim, guilt-inducing way, the film works, even on the occasions when it’s working against itself.- The New York Times
- Posted Jul 5, 2018
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- Wesley Morris
The trouble is that despite how earnest and committed Mr. Zahs appears to be, the story of what’s in the collection might be more be more fascinating than the man who’s collected it.- The New York Times
- Posted May 17, 2018
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- Wesley Morris
The relief of Grace Jones: Bloodlight and Bami is that it seeks to square the person with the provocateuse. The documentary is a feat of portraiture and a restoration of humanity. It’s got the uncanny, the sublime, and, in many spots, a combination of both.- The New York Times
- Posted Apr 12, 2018
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- Wesley Morris
The performances in tandem with the writing take most of these seven movies to interesting places.- Boston Globe
- Posted Mar 16, 2013
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- Wesley Morris
An elegy for a vanishing emblem of what once characterized this country's vitality.- Boston Globe
- Posted Mar 7, 2013
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- Wesley Morris
Gangster Squad is an almost movie. It's almost terrible. It's almost entertaining. But it's missing the shameless insanity of a wonderfully bad movie, and the particular vision, point of view, and coherence of some very good ones. So it sits there in between - loud, flashy, and unnecessary.- Boston Globe
- Posted Jan 10, 2013
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- Wesley Morris
All the makers of Texas Chainsaw 3D cared about was getting your $16.- Boston Globe
- Posted Jan 5, 2013
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- Wesley Morris
The images are meant to accumulate shame, and they do. But they also might be too much.- Boston Globe
- Posted Jan 3, 2013
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- Wesley Morris
Parental Guidance is overly generous with regard to the silliness. However, it's not clueless. Crystal seems determined to give as generously as he gets. When a bully whacks him, Crystal covers the bully in vomit. Good for him.- Boston Globe
- Posted Dec 26, 2012
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