Top 88 Quotes & Sayings by Wesley Morris
Explore popular quotes and sayings by an American critic Wesley Morris.
Last updated on November 21, 2024.
'America's Dad' is what we called Bill Cosby. And we called him that because, well, what a revolutionary way to put it. Through him, we were thumbing our noses at the long, dreary history for black men in America by elevating this one to a paternal Olympus. In the 1980s, he made the black American family seem 'just like us.'
Computers are scary. They're 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.
'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.
My father didn't do a lot of direct education. My mother was the direct educator. She would put on these movies on American Movie Classics when we got cable, after my parents got divorced, which took like four or five years.
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.
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.
The difference between me and, say, the opera critic is that I'm charged with thinking about the world beyond opera. I could go see 'Die Fledermaus', for instance. I've never done any of this, by the way. I've never written about one opera since I've had this job.
Sunken-place entrants include Clarence Thomas, Ben Carson, Tiger Woods, O.J. Simpson, sometimes Kanye West, and any black person with something nice to say about President Trump. It's more generous than 'sellout' and less punitive than 'Uncle Tom,' a dis and a road to redemption.
'Three Billboards,' which is not based on a true story but does have some reality flavoring, must appear worthy of elected office in some way. This was, at first, the illusion presented by the people running the campaigns and, in turn, over the years, has become the custom for lots of us.
My favorite bad thing about 'Three Billboards' is its ambition to play around with America's ideological and geographical toys.
I couldn't have known how vertiginous the entire Huxtable project was. I was, like, 10, 13, 15 years old when the show was a thing. But eventually, I could see that Cliff became a play for respectability. 'This is how you comport yourself among white people, young black child. Take a little bit of Howard with you on your way to Harvard.'
This country is rich with awful things to say about everybody. There's a slur for you and a slur for me - more than one. And because we're terrified of dealing with them head on, we've made them just as easy to warp and defang.
The relief of 'Grace Jones: Bloodlight and Bami' is that it seeks to square the person with the provocateuse.
In 'The One Who Falls,' three women and three men, in everyday clothes, negotiate each other while moving, often in unison, on a giant spinning tile.
I like Rob Morgan in 'Mudbound.' Most of the attention being paid to this movie has focused on Rachel Morrison's cinematography and Mary J. Blige's stiff but intensely stoical performance.
Sidney Poitier became a star in part by helping black and white Americans negotiate their new relationship in the post-Civil Rights era.
'Savage' is a trait that might get you into business school or retweeted 10,000 times. It's what a kid might say after somebody does something awesome or gnarly or fierce: 'Oh, that's savage!' It's the skate park. It's the high-school cafeteria. It's the YouTube comments section.
The reason to do any barking - well, the reason for me - is that 'Three Billboards' feels so off about so many things. It's one of those movies that really do think they're saying something profound about human nature and injustice.
One result of moviemaking - and a side effect of moviegoing - is familiarity. If an actor is particularly good, familiarity opens into something deeper: care, concern, identification, empathy. Yet even those concepts can feel inadequate for some actors.
'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.
I don't see a lot, but I think what the movie studios know and what they always know but they kind of ignore, which is that a there's an audience for movies like 'Get Out,' and 'Hidden Figures,' and to some extent 'Moonlight,' which made a lot less money than 'Hidden Figures' did.
We don't yet call it 'Thxgvng,' because any holiday whose centerpiece sits in an oven for four to six hours, after having sat out for as long to reach room temperature, must be spelled all the way out. Cook a turkey. You'll see. This is to say that you're not just roasting a turkey, obviously.
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.
I don't like turkey. I mean, I do. But I don't like it on Thanksgiving. I don't need it. There are about 20 other dishes that get put on a table or a counter or that stay warming on the stove that I'd rather eat than turkey.
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.
American popular culture has long been marked by an absence of empathy for American Indians. Westerns doubled as a campaign against so-called savages in a way that desensitized us to the savages we'd become.
If Judge Steven T. O'Neill sent Mr. Cosby away for the rest of his life, that sentence couldn't undo what he's convicted of having done to Andrea Constand, his accuser in two trials. It also can't undo what he once did for me, which was to make me believe in myself.
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.
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.
Ms. Sciorra is a member of a dwindling fleet of actors who actually sound like they come from somewhere. In her case, 'somewhere' is Brooklyn. In most movies, and perhaps especially in a handful of singeing 'Sopranos' episodes, 'somewhere' makes her vital. She's what you'd call an around-the-way girl.
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.
Most Pixar films are better than most live action films.
When a black person is acting up or showing off, somebody might say she's 'wilin' out.' In sports, an athlete who really takes it to another level has entered 'beast mode,' which happens to be the nickname of the former Seattle Seahawks superstar Marshawn Lynch.
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.
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.
Racism is old, but Peele found a poetic new way of talking about it. He gave us language we didn't know we lacked.
The Huxtables laughed and bonded and debated and lip-synced. They were glamorous and simple and extraordinarily human. And affluent. And educated. And so many different kinds of black. You'd think that all of that would make them the Howard University of African-American family life. But white people wanted to matriculate, too.
Nudity has never seemed to bother Grace Jones. Her art has thrived, in part, on a physical candor that both shocked people and redrew the boundaries of taste, beauty, and eroticism around her masculinity, ebony skin, and unrelenting intensity.
Lesley Manville comes at 'funny' from a totally different direction in 'Phantom Thread,' using snootiness and froideur. The effect of her performance - as the difficult manager of her difficult brother's couture dress business - stems in part from the chill she puts into her line readings.
'Bloodlight and Bami' delivers. Ms. Jones shucks her own oysters - stressfully. She does her own make up and performs her own vexed yet amusing contract negotiations.
Jordan Peele is famous, in part, for imitations - of rappers and dingbats and the 44th president of the United States. But he would be impossible to imitate. He isn't ribald. He's droll. Sometimes he's not even that. Sometimes he's quiet. Sometimes he's sitting across from you expecting you to hold up your end of a conversation.
Suddenly, stories of abuse and harassment are being believed; abusers and harassers are being toppled. Yet, at the same time, one of the top movies in the country right now is 'Daddy's Home 2,' which has a biggish, comedic part for Mel Gibson. He's the man whose anti-Semitism and racist rants became part of the cultural lore.
'Get Out,' of course, is the surprise hit movie that Peele wrote and directed about a black man named Chris, who discovers that his white girlfriend's family is running a nasty racist conspiracy.
When Oliver Stone and Woody Allen came forward to express sympathy for Mr. Weinstein, everybody rolled their eyes at them, too.
A week before Thanksgiving, my mother bought the turkey, frozen. Then she froze it some more. Then she let it thaw and cleaned it - and I mean really cleaned it, because nobody wanted a 'dirty bird.' She salt-and-peppered the turkey, buttered, paprika-ed, and nominally stuffed it.
My mother very rarely skipped a Thanksgiving turkey. And yet, none of them ever tasted quite the same, landing somewhere on a sliding scale of succulence. She'd try new methods.
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?
Movies and television have a way of using a soundtrack not just to create a mood but to literalize it. You could always count on a master class in splitting the difference between artistry and obviousness during the so-called Blaxploitation era.
What about Hong Chau? In typical supporting-part fashion, she shows up halfway through 'Downsizing,' already shrunk, an imperious Vietnamese house cleaner with a limp and sharp angles. The movie's satirical cleverness upstages its rage; then Ms. Chau proves she's capable of managing both.
'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.
Every once in a while with Twitter, you find something that breaks through the bilge and recrimination. Or sometimes, something finds you. One night, 'The Mechanics of History' found me.
'Bloodlight and Bami' is all verite. The director Sophie Fiennes began filming Ms. Jones in the mid-2000s and simply observes her on stage and off. She follows her home to Jamaica, where the diva mellows, almost unconsciously, into a daughter, sister, and parishioner.
I feel like I've always approached criticism with a degree of morality, right? Like, not as a moralizer, but just as somebody who wants to make sure that the culture we're getting is at least morally aware of how it's functioning.
Sidney Lumet's chief preoccupation wasn't art. It was right and wrong in the American city, nearly always in New York.
There is a tragic kind of joke. You really can't keep a man down - good but often otherwise - because history's mechanics are built to keep him climbing toward the top. Somehow, Icarus gets to be reborn as Iron Man.
Poor decisions and bad luck are contingencies of most horror films.
'In Bruges' featured two hit men on a chatty stroll in Belgium, and certain people's passion for it is fit for Valentine's Day. But it was Tupperware Tarantino to me.
Part of what's mesmerizing about 'The Mechanics of History' is its physical eloquence - how dancerly it is. The men don't fall; they float. And when the trampoline restores them to the staircase, they move at a half speed. Cinema, they say, is 24 frames per second.
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.
'Lady Bird' probably doesn't need more attention than it has gotten. It's a perfect movie, and some of its perfection is in its casting, but this is a movie crammed with wonderful work by people who aren't Laurie Metcalf and Saoirse Ronan: people like Lucas Hedges, Tracy Letts, Stephen McKinley Henderson, and, yes, that Timothee Chalamet.
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