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Poor decisions and bad luck are contingencies of most horror films.

Wesley Morris

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Wesley Morris
Age: 48
Born: 1975
Born: December 19
Film Critic
Journalist
Podcaster
Writer
the United States of America
Horror
Luck
Films
Decision
Poor
Film
Contingencies
Contingency
Decisions

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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.
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I like Nora Ephron. She wasn't a critic in the strictest sense of the word, but she did a lot of social criticism. She was so funny and so in the right place at the right time.
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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.
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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.
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Straight white males: that's the predominant moviegoing category, and the persistence of that is a dismaying maintenance of the status quo.
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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.
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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.
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A movie is just like a work of art or a book or a piece of music. The intent of its maker is one thing, but its interpretation by an audience is something else. I don't stop at what the filmmaker wanted to do.
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I love to go to the movies with people, but a lot of the time it's me in a room with a bunch of other movie critics, which is fine.
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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.
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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.
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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.
Wesley Morris
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Most Pixar films are better than most live action films.
Wesley Morris
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Sidney Poitier became a star in part by helping black and white Americans negotiate their new relationship in the post-Civil Rights era.
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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.
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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.
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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.
Wesley Morris
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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.
Wesley Morris
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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.
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Sidney Lumet's chief preoccupation wasn't art. It was right and wrong in the American city, nearly always in New York.
Wesley Morris