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
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.
apple beneath future jobs kubrick predicted space standing stanley store technology white
Standing beneath the white light of an Apple store is like standing on a Stanley Kubrick movie set. His '2001: A Space Odyssey' predicted Jobs and a future where technology was our friend. Kubrick, of course, didn't like what he saw. And occasionally, I have my doubts.
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'The Tree of Life' is a collection of conversations that lost souls and true believers have with themselves while keeping their heads to the sky. But the movie is church via the planetarium.
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Anyone who watches a lot of television, or listens to pop music, is familiar with a certain vision of America. If not exactly colorblind, this America is one in which different races easily interact, in which a white person might have an Asian boss, Hispanic stepson, or African-American frenemy.
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No, I don't know why Bobby and Peter Farrelly bothered with a 'Three Stooges' movie, either. But if they're anything like some men I know, their love for Moe, Larry, and Curly (and an assortment of fourth bananas) is deep, abiding, and unembarrassable. In other words: How could the Farrellys not?
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'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.
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.
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.