Quotes from Wesley Morris

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.

'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.'

'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.

'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.

Sidney Poitier became a star in part by helping black and white Americans negotiate their new relationship in the post-Civil Rights era.

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.

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.

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.

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.

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.

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.

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.

'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.

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.

I'm a human who is aware of the history of humanity and the ways in which the movies touch on those things.

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.

Most Pixar films are better than most live action films.

Racism is old, but Peele found a poetic new way of talking about it. He gave us language we didn't know we lacked.

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.

'Playboy' operated with a patina of civility that granted the average man a presumption of pleasure that went one way - his. And that permission flourished in the psyches of all kinds of men.

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.

You didn't have to read 'Playboy,' visit the mansion, wear pajamas, or even be straight: The effects of its ideas about women on the American psyche were totalizing. Women were inferior to men because, for 'Playboy,' they were scenery - pretty, passive, usually white, often blonde, there.

Anytime a movie or television show retreats into certain American pasts, I'm both annoyed and relieved.

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.