Wesley Morris
Wesley Morris
Wesley Morris is an American journalist and Critic at Large for the New York Times. Morris is a former full-time writer for the website Grantland. He won the annual Pulitzer Prize for Criticism for his 2011 work with The Boston Globe--the fifth film critic to win the award--citing "his smart, inventive film criticism, distinguished by pinpoint prose and an easy traverse between the art house and the big-screen box office"...
NationalityAmerican
ProfessionCritic
CountryUnited States of America
thinking people looks
Ultimately the social change has to come from the people who make the movies, so the people who make the movies have to look at the landscape and say to themselves, "Well, you know, these things are changing, and I'm okay with their having changed, and I think it's okay to start reflecting those changes through the movies we make."
caring thinking people
I don't see a lot of studio executives caring at all about what the culture is telling us. They think they make the culture. They're not out taking the temperature of things and using the results of whatever sort of cultural surveying they're doing to make movies. They're interested in doing things that people are already comfortable with, and taking those properties and filling them.
responsibility way addresses
I do feel a responsibility to address things that are problematic, but I don't have to go out of my way to do that.
color white people
I have a pretty good sense of when to express misgivings. And white critics are just as capable of pointing those things out and noticing them as people of color.
responsibility ideas black
All critics have the responsibility to tease out the social ideas and social problems in a movie. I don't feel an obligation to do that because I'm black.
teenager struggle race
The enormous success of 2009's 'The Blind Side,' in which Sandra Bullock makes a black teenager one of the family, demonstrates that America isn't post-racial. It is thoroughly mired in race - the myths that surround it, the guilt it inspires, the discomfort it causes, the struggle to transcend it.
jobs blue design
Computers are scary. Theyre nightmares to fix, lose our stuff, and, on occasion, they crash, producing the blue screen of death. Steve Jobs knew this. He knew that computers were bulky and hernia-inducing and Darth Vader black. He understood the value of declarative design.
apples people use
In the Mac vs. PC ads, Apple bills itself as the antidote to Microsoft. To love Apple wasn't to sell out. It was to buy in. Most people use PCs, but Apple has the mindshare.
humanity way humans
I'm a human who is aware of the history of humanity and the ways in which the movies touch on those things.
art media ideas
Movies are visual, aural, they involve people, and life, and ideas and art, they are so elastic. They can hold anything, withstand everything, and make you feel anything. Other arts can do that, but movies are the only ones that can incorporate other media into cinema.
cheer people six
Polisse' is the sort of cop thriller where people do things like angrily bang on a desktop or sweep everything off it. If it happens once, it must happen six times. But every time it did, I wanted to stand up and cheer, which I've never wanted to do for any such thriller.
poor-decisions luck horror
Poor decisions and bad luck are contingencies of most horror films.
persistence white maintenance
Straight white males: that's the predominant moviegoing category, and the persistence of that is a dismaying maintenance of the status quo.
art new-york cities
Sidney Lumet's chief preoccupation wasn't art. It was right and wrong in the American city, nearly always in New York.