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Wesley Morris

Tomatometer-approved critic
Biography:

(Photo Credit: Michael Loccisano/ Staff/Getty Images Entertainment/ /Getty Images)

Reviews

Movies 온라인카지노추천 Shows
Star Wars: Episode I - The Phantom Menace (1999) 54% 2/4 “Industrial Light & Magic and Skywalker Sound...have so transfigured moviegoing into a digital, larger-than-life, realer-than-real experience blurring the natural and the processed that the humanity of the resulting product ceases to exist.” – San Francisco Examiner Apr 16, 2025 Full Review Misericordia (2024) 96% ““Misericordia” is film noir with the lights turned on. Even when its characters are working your nerves, it tickles.” – New York Times Mar 20, 2025 Full Review SLY LIVES! (aka The Burden of Black Genius) (2025) 93% “The movie gets lost in the gulf between standard, if illuminating, biography and roiling existential crisis.” – New York Times Feb 13, 2025 Full Review Nosferatu (2024) 84% “Setting aside some gratuitous jump scares, Eggers has now made a Dracula movie that’s more than an exercise, more than an assertion of talent. There’s a vision at work.” – New York Times Jan 3, 2025 Full Review Tarzan (1999) 90% 3/4 “This brooding, waxed-chested hunk isn't a Neanderthal. He's a star, damn it!” – San Francisco Examiner Dec 20, 2024 Full Review Almost Famous (2000) 91% 3.5/4 “Resistance to the euphoric swell is futile: suddenly, vintage Elton is unselfconsciously cool again. That's what Crowe can do at his best. He makes irony seem ridiculous, which itself is beautifully ironic for someone trying to keep rock alive.” – San Francisco Examiner Mar 26, 2024 Full Review Glitter & Doom (2023) 50% “This is not a deep movie. A lot of it isn’t even good.” – New York Times Mar 7, 2024 Full Review RENAISSANCE: A FILM BY BEYONCÉ (2023) 98% “We have before our eyes an entertainer at peak command of her art and therefore herself.” – New York Times Dec 2, 2023 Full Review Saltburn (2023) 71% ““Saltburn” is the sort of embarrassment you’ll put up with for 75 minutes. But not for 127.” – New York Times Nov 16, 2023 Full Review The Holdovers (2023) 97% “This is Payne’s first movie set in any kind of past — it’s using the old M.P.A.A. rating card and was shot, by Eigil Bryld, on cozy 35-millimeter. But it doesn’t feel stuck there.” – New York Times Oct 26, 2023 Full Review TAYLOR SWIFT | THE ERAS TOUR (2023) 99% “What is it we should expect from a concert movie? Cinema or fax? “Eras” is proof that an event took place and that the event was fun.” – New York Times Oct 13, 2023 Full Review The Exorcist (1973) 78% “Where previously it was an appalling subversion of good taste, subtlety, exposure to Ouija boards and the Catholic stigma of divorce, it now seems clumsy and adolescent. ” – San Francisco Examiner Sep 29, 2023 Full Review Wham! (2023) 89% “Nothing here’s overthought or pumped up. To invoke the words of a different beacon of catchiness, “Wham!” is a teenage dream. You could drink it from a coconut.” – New York Times Jul 5, 2023 Full Review You Hurt My Feelings (2023) 94% “I love a complete sentence for a title. Even better: a complete-sentence title that also describes a filmmaker’s chief concern.” – New York Times May 25, 2023 Full Review The Little Mermaid (2023) 67% “It reeks of obligation and noble intentions. Joy, fun, mystery, risk, flavor, kink — they’re missing. The movie’s saying, “We tried!” Tried not to offend, appall, challenge, imagine.” – New York Times May 24, 2023 Full Review Fast X (2023) 57% “These movies used to know what about them was ridiculous. They’d give that to us until our hearts broke the speed limit. But I’ve already seen Diesel drive at a 90-degree angle before. The old bravado currently reeks of formula. The nerve is shot.” – New York Times May 18, 2023 Full Review The Melt Goes on Forever: The Art & Times of David Hammons (2022) 80% “The title feels crucial to the aim of this movie, a sly, toasty, piquant consideration of Hammons’s conceptual art, the way it mocks and eludes easy ownership.” – New York Times May 4, 2023 Full Review Vengeance Is Mine (2021) 67% “An American movie executed with a French film’s interpersonal insouciance.” – New York Times May 26, 2022 Full Review The Cherry Bushido (2022) “It’s all a mess of ideology and theology, of flowing robes, flying fists, karma, camp, cant and can’t: can’t act, can’t kick, can’t marshal any art.” – New York Times Mar 10, 2022 Full Review The Desperate Hour (2021) 27% “The only thing I want less than a thriller about a school shooting is a thriller whose other main character is the main character’s iPhone.” – New York Times Feb 25, 2022 Full Review Studio 666 (2022) 56% “The movie exudes real “Scooby-Doo”-meets-“The Shining” vibes that rope in Korean horror and extend to Grohl, who gives, if not his all, then at least his most charismatic “some.”” – New York Times Feb 24, 2022 Full Review The Automat (2021) 98% “The documentary Lisa Hurwitz has directed about Automats is shaggy and full of cutesy stuff, mostly involving Mel Brooks.” – New York Times Feb 17, 2022 Full Review Taste (2021) 86% “I was taken with most of this movie. It’s got a firm sensualist grip.” – New York Times Feb 16, 2022 Full Review Marry Me (2022) 61% ““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.” – New York Times Feb 10, 2022 Full Review Summer of Soul (...Or, When the Revolution Could Not Be Televised) (2021) 99% “The images, the music, the news, the reminiscences, the commentary often come at you at once. And with another director what you'd be left with is noise, with mess.” – New York Times Jun 24, 2021 Full Review
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