Wesley Morris in 2013
|Born||1975 (age 44–45)|
|Alma mater||Yale University|
|Employer||The New York Times|
|Awards||Pulitzer Prize for Criticism|
Wesley Morris (born 1975) is an American journalist, film critic and podcast host. He is currently critic-at-large for The New York Times, as well as co-host, with Jenna Wortham, of the Times podcast Still Processing. Previously, Morris wrote for The Boston Globe, then Grantland. He won the 2012 Pulitzer Prize for Criticism for his work with The Globe.
Morris was born and raised in Philadelphia. He attended high school at Girard College, graduating in 1993. While a high school student, he wrote for the Philadelphia Inquirer's teen supplement, "Yo! Fresh Ink." In 1997 he graduated from Yale University, where he had been a film critic at The Yale Daily News for four years.
Morris joined The Boston Globe in 2002, where he reviewed films alongside Ty Burr. Morris and Burr also made regular appearances on NECN to discuss the latest films and do the weekly Take Two film review video series on Boston.com.
Before joining the Globe, he wrote film reviews and essays for the San Francisco Examiner and the San Francisco Chronicle. He is featured in the 2009 documentary film For the Love of Movies: The Story of American Film Criticism discussing the impact of video store shopping on the importance of film criticism, and how critic Harry Knowles started a questionable revolution of amateurs writing film criticism.
In October 2015, Morris joined The New York Times as critic-at-large, contributing to the newspaper as well as The New York Times Magazine.
In September 2016, Morris and Times colleague Jenna Wortham began hosting a podcast called Still Processing, produced by The New York Times and podcasting company Pineapple Street Media. The podcast received enthusiastic reviews and was named to several year-end lists of the best podcasts of 2016.
In 2011, Morris won the Pulitzer Prize for Criticism for his work at The Boston Globe; the award cited "his smart, inventive film criticism, distinguished by pinpoint prose and an easy traverse between the art house and the big-screen box office."
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