The film, while well-made on a technical level, feels more like a collection of moments than a full and satisfying narrative.
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
Earlier this week Wesley Morris of the Boston Globe became only the fourth film critic to receive a Pulitzer Prize, after Roger Ebert (Chicago Sun-Times, 1975), Stephen Hunter (Washington Post, 2003) and Joe Morgenstern (Wall Street Journal, 2005).
A few other movie critics have been named as Pulitzer finalists -- Stephen Schiff (Boston Phoenix, 1983), Andrew Sarris (Village Voice, 1987), Matt Zoller Seitz (Dallas Observer, 1994), Stephen Hunter (Baltimore Sun, 1995), Peter Rainer (New Times Los Angeles, 1998), Ann Hornaday (Washington Post, 2008), A.O. Scott (New York Times, 2010) -- and I've read and admired many of them over the years.
I was first impressed by Morris's writing when he was in San Francisco, where he wrote for both the Chronicle and the Examiner, in the late 1990s. With him and Ty Burr on the movie beat, the Boston Globe now has one of the best critical teams around. And that's saying something: The New York Times team of A.O. Scott and Manohla Dargis is far and away the finest in that paper's history.
The Pulitzer submissions from Morris (who's only 36) covered films and subjects such as "The Help," "Mission: Impossible - Ghost Protocol," "The Tree of Life," "Drive," the "Fast and Furious" series, "Scream 4," "Weekend," "Water for Elephants," Sidney Lumet and Steve Jobs. A few excerpts to give you an idea of what earned him the prize: