For 1,305 reviews, this critic has graded:
  • 65% higher than the average critic
  • 3% same as the average critic
  • 32% lower than the average critic
On average, this critic grades 9.6 points higher than other critics. (0-100 point scale)

Shawn Levy's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 Rififi (re-release)
Lowest review score: 0 3000 Miles to Graceland
Score distribution:
1305 movie reviews
    • 69 Metascore
    • 58 Shawn Levy
    Tepid, boilerplate production.
    • 69 Metascore
    • 58 Shawn Levy
    Fair Game, a murky potboiler based on memoirs by both Plame and Wilson, makes a hash of these piquant ingredients.
    • 59 Metascore
    • 58 Shawn Levy
    A deeply weird film, accomplished, gripping, disorienting, icily adept and barking mad at once. It makes for invigorating viewing.
    • 69 Metascore
    • 58 Shawn Levy
    Mendes has extraordinary gifts, but he has leveled them at the Wheelers like a firing squad. Strangely, he evinced no particular moralizing agenda when making films about the mob or the military. But put ordinary people in his sights and he's venomous. It's unbecoming -- and it should be worked out in private, not in a movie theater.
    • 54 Metascore
    • 58 Shawn Levy
    Buscemi shoots with a cloudy, melancholic air that suits the material and does nothing to prettify the setting. But you can't sense any of the surprising energy or subversive wit that characterizes his best performances.
    • 52 Metascore
    • 58 Shawn Levy
    As it stands, this is little more than a sketchy portrait of two fascinating cultural moments with only geography and 70-ish minutes of celluloid connecting them.
    • 41 Metascore
    • 58 Shawn Levy
    As a director, Hanks makes some nice choices (Larry Crowne lives in a very naturally integrated suburb, for one) but there's little in the film that doesn't feel made-for-TV.
    • 42 Metascore
    • 58 Shawn Levy
    Not a great movie -- not even a great sci-fi action movie based on toys. But it is brisk and eye-catching, it builds to a truly impressive action set piece, and it's the most fully-realized 3D film since "Avatar."
    • 54 Metascore
    • 58 Shawn Levy
    For all its flaws, though, Bobby is still moving. Not so much with its indifferent characters, but rather with the overall mood of a common hope crushed into shapeless grief. That painful historical moment is worth revisiting, as is the image of the man whose death occasioned it.
    • 65 Metascore
    • 58 Shawn Levy
    I Am Legend has one undeniably cool thing about it, namely the vision of Manhattan as a semi-feral wasteland.
    • 53 Metascore
    • 58 Shawn Levy
    A thriller that goes from pretty good to absolutely ludicrous in the time it takes one actor to recite about four sentences of dialogue.
    • 54 Metascore
    • 58 Shawn Levy
    If an animated movie isn't competing with Pixar to dazzle the eye, it had darn well better hit the heart or the funny bone. With its wee little stinger, Bee Movie misses both.
    • 69 Metascore
    • 58 Shawn Levy
    Has its heart someplace worthy. But its head -- not so much.
    • 87 Metascore
    • 58 Shawn Levy
    I reckon that for everyone who's enthralled by the film there will be others who wish they'd heard about it rather than seen it.
    • 63 Metascore
    • 58 Shawn Levy
    Director Steven Shainberg makes something draggy out of something that wants to be light. It's got wit, but it's also earnest, and in proportion to those two traits it wins and loses you.
    • Portland Oregonian
    • 28 Metascore
    • 58 Shawn Levy
    As the struggle toward something new and different overwhelms the film, it becomes less and less human, less and less funny and less and less worth the effort to meet it on its own terms.
    • 62 Metascore
    • 58 Shawn Levy
    Dotted with real laughs and held together by some solid acting, but it's built of a fairly flaccid narrative and some really amateurish sequences.
    • Portland Oregonian
    • 51 Metascore
    • 58 Shawn Levy
    It's a heck of a character to chew into, and Spacey, never afraid to play a devil, enjoys himself a great deal.
    • 58 Metascore
    • 58 Shawn Levy
    For all its flaws, Hitch largely comes off as a light romp.
    • 41 Metascore
    • 58 Shawn Levy
    Awfully sloppy entertainment, built on a script with only a glancing acquaintance with logic, filled with uneven performances and staged with a near-amateur touch for comedy.
    • 54 Metascore
    • 58 Shawn Levy
    For the most part it's dull, bland and unsatisfying: a food-court version of home cooking.
    • 67 Metascore
    • 58 Shawn Levy
    The art of Miranda July, the former Portlander and hyphenate extraordinaire, balances on the edge of the cunning and the precious, of depth and naivety, of the fetching and (sorry) the revolting.
    • 47 Metascore
    • 58 Shawn Levy
    It's never subtle or clever, but it's big, loud and clear.
    • 52 Metascore
    • 58 Shawn Levy
    There's a nifty shootout at the Guggenheim Museum and a lot of scenic travel, but little in it compels.
    • 59 Metascore
    • 58 Shawn Levy
    Doesn't demand much of the audience, sure, but it doesn't provide much, either. It's as if an all-star gang of would-be crooks got together to rip off...moviegoers.
    • 53 Metascore
    • 58 Shawn Levy
    The film has about five endings, each sillier than the next. Before it's over, the business end of that sniper rifle looks kind of inviting.
    • 60 Metascore
    • 58 Shawn Levy
    The film is built as a series of (possibly tall) tales that don't add up to a plot, a theme or a purpose.
    • 69 Metascore
    • 58 Shawn Levy
    A middling contender in this summer of gigantoid sequels.
    • 62 Metascore
    • 58 Shawn Levy
    For all its attempts at wrinkles and surprises and sleight-of-hand, Ocean's Thirteen is too direct and plain and pleased with itself to ever feel like a thriller.
    • 52 Metascore
    • 58 Shawn Levy
    The hearty performances are undone by the forced eccentricity of the sets, the clothes, the music and, especially, the characters. The film is ugly and facile and childish in its love of its own naughtiness. Only Jill Clayburgh, as a creepy woman in whose home Augusten must live, feels human. The rest is no more real than a "Simpsons" episode -- and offers fewer laughs.

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