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
stars new-relationship black-and-white
Sidney Poitier became a star in part by helping black and white Americans negotiate their new relationship in the post-Civil Rights era.
risk world want
There comes a point in your moviegoing life where you look at the screen and then you look at the world and you ask, 'What is going on?' You want the movies to show you the chaos and mess and risk and failure that are normal for a lot of us. Generally, the movies hide all of that.
race people feel-good
The problem with a lot of movies when it comes to race is that they want to be moral, and they want to make the audience feel good about something that a lot of people don't feel good about.
patience perception youth
In movies, there are some things the French do that Americans are increasingly incapable of doing. One is honoring the complexities of youth. It's a quiet, difficult undertaking, requiring subtlety in a filmmaker and perception and patience from us.
son law two
The bravery of Stanley Kramer's 'Guess Who's Coming to Dinner' amounted to two Hollywood legends - Katharine Hepburn and Spencer Tracy - telling the world that a black son-in-law is something they can live with, and so should you, especially if he looks like Sidney Poitier and has degrees.
hair land differences
The Dictator' lands somewhere between wan Mel Brooks and good Adam Sandler, whose 'You Don't Mess With the Zohan,' about an Israeli Special Forces soldier at a hair salon, manages to strike better contrasts with vaguely similar culture differences - it's a nuttier movie, too.
superhero age eras
I definitely have a kind of Stockholm Syndrome for superhero movies because it's very clear that's the era we're in. It's like Christianity in the Middle Ages.
i-love-you kindness noir
Robert Pattinson has the face of a film-noir dupe. It's a face that is searching and open and kind. It's a face that a certain type of woman might want to fool because, in its intensely old-fashioned kindness, the face says, I love you. Fool me.
want sometimes knows
Sometimes a movie knows you're watching it. It knows how to hold and keep you, how, when it's over, to make you want it all over again.
action film pixar
Most Pixar films are better than most live action films.