For 1,301 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 11.8 points higher than other critics. (0-100 point scale)

Shawn Levy's Scores

  • Movies
Average review score: 71
Highest review score: 100 Mystic River
Lowest review score: 0 Thomas and the Magic Railroad
Score distribution:
1,301 movie reviews
    • 61 Metascore
    • 67 Shawn Levy
    You can't help but feel a connection to Downey and Foxx and, to a lesser degree, a rooting interest in the story. But try as Wright might, he never figures out a way to bring us in -- much less manipulate us -- cinematically.
    • 55 Metascore
    • 67 Shawn Levy
    Somehow Lee fails to make it speak to us. His heart is in the right place, but like many of the crowd that swarmed Yasgur's farm, he has rather lost his head.
    • 71 Metascore
    • 67 Shawn Levy
    It IS a film that deflates you too often, despite its efforts to impart a sense of soaring. In the end, where the Wild Things are is in your imagination and in Sendak’s pages, not in this big-hearted but ultimately faint simulation.
    • 55 Metascore
    • 67 Shawn Levy
    The film is thus more of a technical showcase than a human drama. It's diverting enough until it gets dumb, but so strong from the start is the certainty that dumb is on the way that you can't get too vexed when it finally arrives.
    • 65 Metascore
    • 67 Shawn Levy
    The increasingly crude plotting and stock dialogue are killers. All the beauty the eye can hold can't, in this case, fool the ear and brain into falling for Coppola's strained tale.
    • 54 Metascore
    • 67 Shawn Levy
    Crude both in form and content while at the same time capable of evoking explosions of shocked and, often, shamed laughter.
    • 65 Metascore
    • 67 Shawn Levy
    Tautou is, as ever, radiant and deep and affecting, but a film about such an extraordinary personage as Chanel shouldn’t feel so ordinary and wan.
    • 53 Metascore
    • 67 Shawn Levy
    A strangely passive film, dutifully ladling out its bits of filmic wizardry and expanding Lewis Carroll’s fantastical mythos in a promising new direction without any palpable sense of glee or verve.
    • 49 Metascore
    • 67 Shawn Levy
    There’s a lot of hate in this film. But a lot of talent, too. It borders on despicable, but you can’t ignore it.
    • 55 Metascore
    • 67 Shawn Levy
    Carrey’s Scrooge is deliciously pinched and credible. As, indeed, is this film -- that is, when it feels like Dickens and not a theme park ride.
    • 54 Metascore
    • 67 Shawn Levy
    There are moments of levity throughout the film, but it’s made with pedestrian craft and feels more like a set-up and a series of vignettes than a compelling yarn. Chiefly, it demonstrates just how accomplished the Coens are even when their films seem offhanded and easy.
    • 63 Metascore
    • 67 Shawn Levy
    Indeed, Green Zone plays a little bit like a video game version of the Oscar-winning film (The Hurt Locker)-- which should tell you right off whether it's for you or not.
    • 81 Metascore
    • 67 Shawn Levy
    Like "Red Road" it's slow-moving and sometimes grueling, but it's more of a chronicle than narrative, a series of slices-of-life rather than an unfolding and increasingly engrossing enigma.
    • 83 Metascore
    • 67 Shawn Levy
    Apparently it’s the second film of a trilogy Demme intends on Young -- and the middles are always the hardest parts to get right, yeah?
    • 44 Metascore
    • 67 Shawn Levy
    A breezy, dumb and lightweight film that has the benefit of not trying terribly hard to be about much of anything and succeeding (bravo?).
    • 57 Metascore
    • 67 Shawn Levy
    Only a shadow -- if an agreeable and harmless one -- of its predecessor film.
    • 66 Metascore
    • 67 Shawn Levy
    iI’s a film more content to amuse than truly to probe or feel.
    • 62 Metascore
    • 67 Shawn Levy
    Clever but, alas, largely forgettable.
    • 65 Metascore
    • 67 Shawn Levy
    Salt is hooey, but in a medium in which hooey is the stock-in-trade, it's effective hooey, and hooey with admirable craft, and, most of all, breezy hooey.
    • 61 Metascore
    • 67 Shawn Levy
    It does a nice job of balancing stillness and action, but it hits weakly when it hits at all and falls short of the small grandness to which it aspires.
    • 76 Metascore
    • 67 Shawn Levy
    There's a breeziness to Soul Kitchen, good performances by Moritz Bleibtreu as Zinos' slippery brother and Birol Unel as his fanatical new chef, and a peppy soundtrack.
    • 63 Metascore
    • 67 Shawn Levy
    Franco is rather astounding, looking and sounding plausibly like Ginsberg and talking about complex ideas in a genuinely relaxed tone.
    • 67 Metascore
    • 67 Shawn Levy
    It's often flat and dull, and it can be heavy-handed with the little acorn-that-will-yield-the-famous-oak bits that so often dot biographical films about the youthful lives of famous figures.
    • 58 Metascore
    • 67 Shawn Levy
    There are hints lately that De Niro is trying to build a fourth, restorative act to his wayward film career, and he brings some real fire, without which Stone would be helpless.
    • 88 Metascore
    • 67 Shawn Levy
    As a film, Inside Job is polished enough, and fueled by piquant indignation, but it's also often scattershot and meandering.
    • 71 Metascore
    • 67 Shawn Levy
    Tangled is a lively, funny, deft and delicious musical in the vein of Disney's 1989 classic "The Little Mermaid."
    • 57 Metascore
    • 67 Shawn Levy
    It's a heavy, moody film, mimicking in its form something of the mental state of its central character, which is a nifty trick. But the quality of the craft doesn't draw you in, nor does Gosling's aloof and inward performance.
    • 39 Metascore
    • 67 Shawn Levy
    Has enough kicks and verve to keep the winter blues at bay, at least for a little while.
    • 67 Metascore
    • 67 Shawn Levy
    The result imparts something of the emptiness of Johnny's existence and, if you're not partial to either the fellow or the technique, might very well drive you up a tree.
    • 58 Metascore
    • 67 Shawn Levy
    Yet another, albeit sparer, Iñárritu gloom-fest.
    • 37 Metascore
    • 67 Shawn Levy
    The effect is to turn a brain-optional shoot-'em-up into a military recruiting commercial, which may not be an accident.
    • 49 Metascore
    • 67 Shawn Levy
    This isn't at the same level of quality as Yen's "Ip Man 2," which played earlier this year and was one of the best martial arts movies in a long time. But it is entertaining, even if it does ask you to suspend boatloads of disbelief.
    • 63 Metascore
    • 67 Shawn Levy
    The film feels superficial even for something set in the fashion world, and after chronicling Sassoon's unlikely ascent, it all starts to feel air-kissy and fluffy. There is a great story here, though, and Sassoon is undeniably inspirational.
    • 82 Metascore
    • 67 Shawn Levy
    Incendies was likely a crackling thing to read, but it's not quite so vivid as a finished film.
    • 44 Metascore
    • 67 Shawn Levy
    It's not that Hangover II is a notably bad movie. It's more that nothing in it seems to justify all the effort spent to add a new but nearly identical series of episodes to the original.
    • 63 Metascore
    • 67 Shawn Levy
    They say that history is written by the winners. Well, this is the story of Saint Laurent as told by his surviving partner. And it's, oddly, less about the man than about his things.
    • 64 Metascore
    • 67 Shawn Levy
    In comparison to others who struggle against real travails (the young Buck Brannaman, say), he (O'Brien) seems spoilt, entitled, impatient, shrill and mean.
    • 70 Metascore
    • 67 Shawn Levy
    In some regards, watching Passione is like being cornered by actor John Turturro and forced to watch a slide show of his trip to Italy.
    • 74 Metascore
    • 67 Shawn Levy
    Lots of people have crazy stuff happen to them once or twice. Some people are magnets for crazy stuff. And then there's Joyce McKinney, who is like a factory where magnets for crazy stuff are made and warehoused.
    • 48 Metascore
    • 67 Shawn Levy
    One Day, despite its attractiveness, never manages to find a way to bring the conceit fully to life.
    • 58 Metascore
    • 67 Shawn Levy
    It's never more than an intro to a man who merits volumes.
    • 57 Metascore
    • 67 Shawn Levy
    Despite the film's claim to be an anatomy of a pop culture craze, it's deeply parochial and has an opportunistic feel at its core.
    • 58 Metascore
    • 67 Shawn Levy
    It hardly needs to hang its head around the original, and it bolsters Brewer's standing as a talent of note.
    • 80 Metascore
    • 67 Shawn Levy
    It's easy to imagine that some folks will find the film rapturous, but it's equally clear that there are others whom it will drive crazy.
    • 59 Metascore
    • 67 Shawn Levy
    Eastwood never manages to bring the past to life, even as DiCaprio and company dive gamely into the material.
    • 71 Metascore
    • 67 Shawn Levy
    "Juno" was accused (wrongly, in my view) of having things both ways: being cute and cynical, edgy and sentimental. Young Adult, despite the fun afforded by Theron and Oswalt, seems content to have things neither.
    • 67 Metascore
    • 67 Shawn Levy
    The story told in Garbo: The Spy is so outlandish that you almost feel as if you're watching a mockumentary. But it appears to be entirely true.
    • 54 Metascore
    • 67 Shawn Levy
    Anyone looking for a full-bodied account of the woman, her deeds, and her place in history shouldn't be encouraged to linger too long with The Iron Lady.
    • 46 Metascore
    • 67 Shawn Levy
    The actors make the trauma in Another Happy Day feel real. But it's too often undercut by directorial fussiness that feels more academic than personal.
    • 46 Metascore
    • 67 Shawn Levy
    The quality of the craft at the best moments of the film is undeniable. But it depends, finally, to how well you can embrace a young man named Horn -- a terrific gamble for a film and a subject of such size.
    • 46 Metascore
    • 67 Shawn Levy
    Kudos to the makers Red Tails for paying homage to a remarkable group of men and their genuinely heroic deeds, and a hat-tip as well for the idea that the best way to tell the story was the old-fashioned way. But would that the film's old-school aura felt knowingly retro rather than dutifully rote.
    • 40 Metascore
    • 67 Shawn Levy
    If all you care about is bang-bang, then Act of Valor should satisfy you. But if all you care about is bang-bang, then you're invalidating the very reason the actual SEALS appear in this film: to put a human face on their dangerous work.
    • 70 Metascore
    • 67 Shawn Levy
    Ellroy's bully-boy schtick is getting stale, and Moverman is overly beholden to it.
    • 67 Metascore
    • 67 Shawn Levy
    There's atmosphere and tension and dark humor and some truly shocking gore throughout. But the positive impression all of that makes pales next to a headscratching finale that is admittedly well-executed but is also undeniably perverse and borderline random. Maybe you'll go with it, simply out of shock. I, alas, could not.
    • 69 Metascore
    • 67 Shawn Levy
    It's a deeply uneven film that can't decide if it's a satire, a joke, a thriller or a heartstring-tugger, and in dithering in its tone and its aims it ultimately turns out to be none of the above.
    • 64 Metascore
    • 67 Shawn Levy
    The film wastes itself on silliness and scattered threads before very long, truly squandering a brilliant promise.
    • 56 Metascore
    • 67 Shawn Levy
    Offers a few laughs and a moment or two of drama, but it's finally more of a conceit -- and a familiar one -- than a film.
    • 52 Metascore
    • 67 Shawn Levy
    It's a long film for such a familiar story.
    • 57 Metascore
    • 67 Shawn Levy
    If you've a mind to see a classic fairy tale rendered as an action movie, and if you want to see a sizeable handful of fine English actors have grand fun playing grizzled dwarves, there are worse ways to spend two hours than in the company of Snow White and the Huntsman.
    • 63 Metascore
    • 67 Shawn Levy
    Handsome and perky and built around a story so simplistic that it almost feels like it wasn't written down.
    • 66 Metascore
    • 67 Shawn Levy
    The Amazing Spider-Man is agreeable. And occasionally it's more. But, as with the American remake of the Swedish film of "The Girl with the Dragon Tattoo," you can't help but feel that you've not only heard the story before, but that you you've seen it before, too -- and recently.
    • 68 Metascore
    • 67 Shawn Levy
    "Waltz" requires you to be on board with it from the start and doesn't often enough rouse itself to magnetize you if you're not.
    • 74 Metascore
    • 67 Shawn Levy
    Neil Young Journeys is the third documentary/concert film focusing on the great Canadian songwriter that director Jonathan Demme has made since 2006, and it's the weakest of the three, even as it sporadically charms.
    • 62 Metascore
    • 67 Shawn Levy
    It isn't art, it's will-o-the-wisp thin, but it might well make you squirt your soda through your nose. And as there seem to be a number of people willing to pay good money for that sensation, there's glory for you!
    • 76 Metascore
    • 67 Shawn Levy
    Hara-Kiri is low on blood and shock, emphasizing performance and atmosphere.
    • 50 Metascore
    • 67 Shawn Levy
    Wrapping the whole thing in a sentimental ending turns it into a fraud. The Campaign might have been truly -- and appropriately -- scabrous in other hands; those of the "South Park" guys or Mike Judge, say. But director Jay Roach and writers Shawn Harwell and Chris Henchy play it safe and down the middle. No actual political contributors or candidates need fear harm.
    • 66 Metascore
    • 67 Shawn Levy
    A rather routine thriller that's got two things going for it: the ticking of a clock and the clickety-click of bicycle wheels. Both impart a sense of exhilaration to a thin and even silly story, engaging you when, really, you ought to know better.
    • 58 Metascore
    • 67 Shawn Levy
    The journey on which he takes us may not satisfy in the ways we normally ask of movies, but if it did it wouldn't be a Cronenberg, would it?
    • 53 Metascore
    • 58 Shawn Levy
    The people behind Eight Legged Freaks were absolutely correct not to make it too loopy or too dark. But they ought to have made it too something. Real fun is never this tame.
    • 52 Metascore
    • 58 Shawn Levy
    Though intermittently entertaining, it's too long and rarely insightful in new or meaningful ways.
    • 40 Metascore
    • 58 Shawn Levy
    It's alternately mind-boggling and patience-testing, mixing astounding sequences of over-the-top invention with scenes of inept acting and indifferent filmmaking.
    • 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.
    • 55 Metascore
    • 58 Shawn Levy
    Though the film occasionally rises to moments of genuine emotion and wit, it slips appallingly into corniness and hokum before coming to an abrupt and unconvincing end.
    • 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.
    • 47 Metascore
    • 58 Shawn Levy
    It's never subtle or clever, but it's big, loud and clear.
    • 71 Metascore
    • 58 Shawn Levy
    A draggy affair livened occasionally by bursts of color or raw emotion, but just as often convoluted and hackneyed. It's a case of a film taking on, admirably, more than it can chew.
    • 31 Metascore
    • 58 Shawn Levy
    Tends to beat some plain unfunny material to death.
    • 54 Metascore
    • 58 Shawn Levy
    So sloppily and unabashedly sentimental that it can make you laugh and cry at the same time -- and often at the same things.
    • 62 Metascore
    • 58 Shawn Levy
    The standout is Baldwin, utterly convincing as a gruff cuss whose life has been forever stained by the death of his wife.
    • 32 Metascore
    • 58 Shawn Levy
    The film is nothing much to look at and has trouble swallowing its own clichs and implausibilities.
    • 60 Metascore
    • 58 Shawn Levy
    It isn't, finally, satisfying: It's too uneven, indulgent, fey.
    • 47 Metascore
    • 58 Shawn Levy
    No matter your opinion on where we're headed, this film will give you some crucial information about where we've been.
    • 51 Metascore
    • 58 Shawn Levy
    Pleasant and light and builds nicely within its own self-circumscribed intent.
    • 59 Metascore
    • 58 Shawn Levy
    The combination of emotional anemia, predictable plotting and tepid language makes what might have been a crackerjack treat play like a soggy piece of popcorn.
    • 60 Metascore
    • 58 Shawn Levy
    A handsome picture, with lots of nifty borrowings from the "Star Wars" galaxy, but it's never particularly compelling as a story or as a vehicle for emotions, and when it's over you have a feeling of still waiting for it to get started.
    • 57 Metascore
    • 58 Shawn Levy
    It's an often lovely, constantly assured film that now and again burps forth a really remarkable vision. But it's also half-nuts -- maybe three-quarters.
    • 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.
    • 59 Metascore
    • 58 Shawn Levy
    A deeply weird film, accomplished, gripping, disorienting, icily adept and barking mad at once. It makes for invigorating viewing.
    • 63 Metascore
    • 58 Shawn Levy
    Not much in the way of captivating magic, but all the expected notes are duly played. Hope springs eternal for the next film in the series, though: Columbus is handing the reins over to Alfonso Cuaron, an actual movie director.
    • 62 Metascore
    • 58 Shawn Levy
    Watching it is like filling up on baklava: Later you may feel really guilty, but you don't exactly complain while it's going on.
    • 71 Metascore
    • 58 Shawn Levy
    The best thing about the film is the acting of the guys.
    • 52 Metascore
    • 58 Shawn Levy
    There's a handful of good scenes (some of the vengeance that's wreaked is priceless) and it's generally well-played. But the soul of the thing isn't distinct enough from the bitterness it portrays.
    • 62 Metascore
    • 58 Shawn Levy
    Filled with skewed humor, inventive animation and earthy jokes.
    • 57 Metascore
    • 58 Shawn Levy
    Never quite catches fire. They take a crackerjack premise and a comely, committed leading lady and turn in a merely OK film.
    • 64 Metascore
    • 58 Shawn Levy
    In their hands [Terry Gilliam or Tim Burton or even Steven Spielberg], Harry Potter and the Sorcerer's Stone might have made as terrific a movie as it is a book. When Columbus got the job, however, it was guaranteed only to be a commercial success.
    • 63 Metascore
    • 58 Shawn Levy
    Swell when it purrs, when the three top stars are in full form, but it spits and hisses and screeches too often to take full hold.
    • 70 Metascore
    • 58 Shawn Levy
    The film's best sequences -- the troubles of the young woman -- are gems adrift in a sea of Jell-O.
    • 50 Metascore
    • 58 Shawn Levy
    It's a handsome film, and made with verve, but too often the tone wobbles and far, far too many of its jokes hit with a splat.
    • 46 Metascore
    • 58 Shawn Levy
    It has all the raw materials for greatness -- a brilliant concept, a sharp cast, the jokes -- and still doesn't come together. You could do a lot worse than Hollywood Ending, but you could also do better.
    • 31 Metascore
    • 58 Shawn Levy
    It's hooey, but it's hooey that picks up in the second half, not exactly redeeming itself but fitfully engaging.
    • 68 Metascore
    • 58 Shawn Levy
    Isn't a bad movie so much as one that feels like an amateur version of material from more accomplished works -- a movie that not only isn't sure what it really is but doesn't seem terribly much to care.
    • 47 Metascore
    • 58 Shawn Levy
    A film of curiosities and asides, it deliberately eschews plot in favor of character quirk, which is fine in theory and even commendable. But the quirks are lame, the ultimate conflation of story lines is clumsy.
    • 62 Metascore
    • 58 Shawn Levy
    An impressive work in many regards -- the acting, the photography, the pace -- but it would've been even more so had Egoyan gone with his gut and been less indulgent of his brain.
    • 37 Metascore
    • 58 Shawn Levy
    Drowns in flat, clumsy and obvious direction.
    • 49 Metascore
    • 58 Shawn Levy
    It's a strange, uneven film, hilarious in moments and tin-eared in others, alternately subtle and hammer-handed, acid and dull, as schizophrenic as "Signs" and probably, like that film, best enjoyed in discrete chunks rather than as a whole that needs to be digested equally all at once.
    • 52 Metascore
    • 58 Shawn Levy
    Tasty, but, finally, a little unfulfilling.
    • 45 Metascore
    • 58 Shawn Levy
    Lost in this beguiling labyrinth, Vanilla Sky is more fascinating as a bit of evidence than as a movie -- and ultimately less pleasing than most audiences will want.
    • 56 Metascore
    • 58 Shawn Levy
    Schumacher's depictions of street life are cartoonishly ludicrous and riddled with cliches -- a pair of garish hookers, for instance, can't be excused simply because one is played with engaging vigor by Paula Jai Parker.
    • 61 Metascore
    • 58 Shawn Levy
    Despite a cast of solid actors and a director with one of the most exquisite visual sensibilities in the business, the film is too often flat when we want it to dazzle us.
    • 63 Metascore
    • 58 Shawn Levy
    Washington makes it fun, which is about the best it could hope for.
    • 46 Metascore
    • 58 Shawn Levy
    An intermittently gorgeous and evocative film that's so taken with its trangressively bloody and erotic content, it neglects such fussy niceties as coherent plotting and the creation of characters of middling intelligence, plausible psychology or sympathetic nature.
    • 64 Metascore
    • 58 Shawn Levy
    Elf
    If you're one of those fussy filmgoers who demands that a movie engage somewhat higher body parts -- the heart, say, and the brain -- you'll find only intermittent comfort and joy in this high-concept, low-wattage film.
    • 19 Metascore
    • 58 Shawn Levy
    Myers' Cat, with a voice that crosses Bert Lahr's Cowardly Lion with Mel Blanc's Bugs Bunny, is generally fun, possessed of an anarchic playfulness that balances his sometimes bawdy tendencies.
    • 45 Metascore
    • 58 Shawn Levy
    Still, if it doesn't go down in film history as a key moment in Roberts' career, it might very well be remembered as a breakthrough for one of its trio of rising stars.
    • 60 Metascore
    • 58 Shawn Levy
    The result is an overly long, overly cute film that is far too tickled with its own naughtiness. It truly is an instance of if you've seen the trailer, you've seen the film.
    • 44 Metascore
    • 58 Shawn Levy
    Remove the razzle-dazzle provided by Azaria, Hoffman, Baldwin, the gross jokes and that ferret, and you wind up with a pretty dull and ordinary face.
    • 59 Metascore
    • 58 Shawn Levy
    The first "Barbershop" was no classic but, as so often with sequels, if this were the first there would be no second.
    • 48 Metascore
    • 58 Shawn Levy
    A sweet but weightless and witless romantic comedy, Sandler is not only deeply unfunny, he's deliberately unfunny.
    • 48 Metascore
    • 58 Shawn Levy
    Noisy, garish, cluttered, simplistic and often dark in content, it nevertheless sings and preens and jokes and tugs at you with such persistent verve that, exhausted, you give in.
    • 70 Metascore
    • 58 Shawn Levy
    Acted with earnest commitment and scored and edited with jazzy, laconic grace, "Lights" tells us absolutely nothing we haven't heard before -- and often -- in sports films
    • 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
    Even though it largely succeeds in putting a civil face on some unpalatable material, it lacks the heat and suppleness of the best Shakespeare on film.
    • 57 Metascore
    • 58 Shawn Levy
    Isn't profound or dazzling or groundbreaking. But it's a pleasant, clever and sincere little romp, proof that you don't need to harbor heroic ambitions to create something satisfying.
    • 56 Metascore
    • 58 Shawn Levy
    In the end, it's a perfectly decent, perfectly vaporous film, pretty but slight, predictable but never incompetent.
    • 58 Metascore
    • 58 Shawn Levy
    For all its flaws, Hitch largely comes off as a light romp.
    • 68 Metascore
    • 58 Shawn Levy
    One of those American independent films with two chief points to recommend it: the earnest good will of its creators and its determination to be unlike any studio film.
    • 61 Metascore
    • 58 Shawn Levy
    The single most impressive thing about the film, in fact, is the taste that this shotgun technique gives of the mass simultaneity of the race.
    • 73 Metascore
    • 58 Shawn Levy
    Lively, cheeky, dense and, ultimately, too flip, clever and torturously twisted to be fully engrossing.
    • 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.
    • 60 Metascore
    • 58 Shawn Levy
    If it's meant as a retort to anti-Semitic doctrine, it's far too episodic, anecdotal and lacking in specifics.
    • 61 Metascore
    • 58 Shawn Levy
    A sour, deflating and ultimately unlikable black comedy about how awful life can be.
    • 75 Metascore
    • 58 Shawn Levy
    Though it's handsomely made and peppered with seamlessly achieved visual glories, Narnia is ineptly acted, crudely staged and burdened with a score that only a masochist could love.
    • 53 Metascore
    • 58 Shawn Levy
    Sumptuous and beautiful and as silly as a sack of nose glasses.
    • 49 Metascore
    • 58 Shawn Levy
    As it progresses it becomes a sloppy mix of modern and antique, and the limits of its lead actors and its script become evident.
    • 58 Metascore
    • 58 Shawn Levy
    Miscast, constricted, loose in tone and meandering in intent, it has far fewer moments of inspiration than unintended laughter.
    • 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.
    • 48 Metascore
    • 58 Shawn Levy
    We have reached a point in history when an ordinary TV show is often as good as or even better than an ordinary movie. And movies don't come much more ordinary than The Sentinel.
    • 64 Metascore
    • 58 Shawn Levy
    A feature film has to be more than just an interesting theme; it needs something that constitutes drama -- conflict, journey, adventure, what have you. The Notorious Bettie Page is a perfect example of a film that has a subject but no story.
    • 66 Metascore
    • 58 Shawn Levy
    Absent the real sense of creepiness and highly honed film craft of De Palma, or the strong visual and emotional sensibility of Woo, M: I III feels like one of the more forgettable James Bond films -- saddled, moreover, with a star who's sliding into self-parody.
    • 61 Metascore
    • 58 Shawn Levy
    As in so many films directed by actors, there's a generosity shown to performance that results in many lifelike moments.
    • 72 Metascore
    • 58 Shawn Levy
    A dull, uninspiring film that combines pedestrian acting, lackluster special effects and deadly pace with a pseudo-religious theme.
    • 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.
    • 36 Metascore
    • 58 Shawn Levy
    The man has gifts -- but acting and, it's increasingly clear, storytelling aren't among them.
    • 68 Metascore
    • 58 Shawn Levy
    The Illusionist might trick some moviegoers into thinking it's clever, deft, old-fashioned fun. But I urge those folks to stay home with a real classic romantic thriller on DVD or cable to remember the difference. This film doesn't even manage to breathe old life into the forms it apes.
    • 49 Metascore
    • 58 Shawn Levy
    The Black Dahlia has sparks of brilliance, swaths of dark intensity, unpredictable crackles of wit, some solid acting. But it's chiefly flat and ambling and dull, insufficient in musculature and overripe with melodrama.
    • 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.
    • 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.
    • 56 Metascore
    • 58 Shawn Levy
    Strip off the superfluities, and it's a chamber play about people with nothing in common talking about what, at their core, they have in common. A film meant to remind us of our shared humanity mainly unites us in frustration with its thick, gummy progress.
    • 63 Metascore
    • 58 Shawn Levy
    While Stallone likely hopes to go out with a bang, this small, manipulative movie doesn't have any real punch to it.
    • 45 Metascore
    • 58 Shawn Levy
    Factory Girl lives fast and dies young, but the corpse it leaves isn't really all that good-looking.
    • 53 Metascore
    • 58 Shawn Levy
    Had the film been more tempered in its textures, had Cassavetes chosen a surer attitude toward his subjects, it might have been devastating. As it stands, though, it's far more showy than substantial.
    • 35 Metascore
    • 58 Shawn Levy
    It's a handsome film, but the pace is continually gummy and the set-ups stiff and artificial. Most crucially, nothing in it vanquishes the sensation that we're being sold something superfluous -- like a service contract for a carton of eggs.
    • 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.
    • 71 Metascore
    • 58 Shawn Levy
    The storytelling -- the script is co-written by Verhoeven's old collaborator Gerard Soeteman -- is messy, and the result never feels real or human or vital.
    • 68 Metascore
    • 58 Shawn Levy
    With so much potential, The Valet is disappointingly flat and wan, with few of the moments of cringe-and-laughter-inducing mortification that are Veber's stock in trade.
    • 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.
    • 67 Metascore
    • 58 Shawn Levy
    McGregor is a real charmer, a young Malcolm McDowell with a Scottish lilt; Brain Tufano's photography manages to be both rich and stark at once; Hodge's script has some genuinely arch lines. [03 Mar 1995]
    • 69 Metascore
    • 58 Shawn Levy
    A middling contender in this summer of gigantoid sequels.
    • 51 Metascore
    • 58 Shawn Levy
    As it stands, the film is more often self-absorbed than self-aware.
    • 56 Metascore
    • 58 Shawn Levy
    As the film builds toward a ludicrous finale, it poses a question: Foster is a far better actor than Charles Bronson, and Jordan a much better director than Michael Winner, so why is The Brave One so much less satisfying than "Death Wish"?
    • 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.
    • 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.
    • 57 Metascore
    • 58 Shawn Levy
    There are small pleasures, but not many. It especially underwhelms when you consider how Penn seemed to have found a new paradigm for this now-hoary comic form.
    • 48 Metascore
    • 58 Shawn Levy
    21
    21 isn't insultingly stupid. But there's a gap between what we're told about its characters and what we can see for ourselves, a gap that gets larger and more frustrating as the film goes on.
    • 55 Metascore
    • 58 Shawn Levy
    For what's essentially a bad movie, Street Kings is fairly tight and energetic.
    • 64 Metascore
    • 58 Shawn Levy
    There's no doubt that Tarsem's a visionary director. Now he needs to envision a worthwhile script for himself.
    • 53 Metascore
    • 58 Shawn Levy
    It more or less plays like a five-episode arc of the series, which is a strength and a weakness.
    • 54 Metascore
    • 58 Shawn Levy
    For the most part it's dull, bland and unsatisfying: a food-court version of home cooking.
    • 53 Metascore
    • 58 Shawn Levy
    Yes, you can enjoy bits and pieces along the way, more than a few, even. At the end of this journey, though, you feel more exhaustion and relief than catharsis or satisfaction.
    • 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.
    • 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.
    • 74 Metascore
    • 58 Shawn Levy
    Phoenix makes an interesting case of Leonard's twitchiness and mooning, but neither Paltrow nor Shaw is particularly credible as a Brooklynite, and Rossellini and Moshonov seem like they've wandered in from another film altogether.
    • 63 Metascore
    • 58 Shawn Levy
    Despite the stories' brief running times, they don't manage to generate much interest or make much sense.
    • 54 Metascore
    • 58 Shawn Levy
    A tiresome, didactic and, once the novelty of the graphics has worn off, charmless film.
    • 60 Metascore
    • 58 Shawn Levy
    You find yourself wishing that Apatow had managed a script that was either really funny or about real people instead of this half-baked pseudo-memoir that's neither.
    • 61 Metascore
    • 58 Shawn Levy
    If you love the genre, you'll likely be engaged. But if not, there's not much point.
    • 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.
    • 61 Metascore
    • 58 Shawn Levy
    Fiercely acted but made with indifferent craft and no palpable feel for its subject matter, Trucker takes you on a ride from intrigue to indifference.
    • 68 Metascore
    • 58 Shawn Levy
    A movie that, like its title character, is meandering, unstructured and only dimly aware of what it’s doing.
    • 56 Metascore
    • 58 Shawn Levy
    This Diary of a Wimpy kid is too often dull, unappealing and clumsy, hobbled by unnecessary changes and inventions that add no charm, energy or, truly, point.
    • 55 Metascore
    • 58 Shawn Levy
    Alas, the drama surrounding him (Caine) rarely rouses anything but yawns.
    • 53 Metascore
    • 58 Shawn Levy
    There’s quality throughout, but, visual verve aside, the enterprise is dull, heavy-handed and dispiriting.
    • 72 Metascore
    • 58 Shawn Levy
    There's no reason to actively dislike the film, but that's not enough, not at today's ticket prices. Just because you're not despicable, after all, doesn't mean you're the pick of the litter.
    • 45 Metascore
    • 58 Shawn Levy
    Incomplete, shrill and smug.
    • 61 Metascore
    • 58 Shawn Levy
    There's almost nothing to grab onto. It's like a gorgeous graphic novel with a protagonist and story that vanish utterly from the mind as soon as the last page is turned.
    • 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.
    • 49 Metascore
    • 58 Shawn Levy
    It's a handsome film, and Bridges is back, but little has been done to deepen the story into a saga, and the leading man, Garrett Hedlund, rivals Bit for inexpressivity.
    • 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.
    • 69 Metascore
    • 58 Shawn Levy
    Has its heart someplace worthy. But its head -- not so much.
    • 58 Metascore
    • 58 Shawn Levy
    It's woeful as a documentary history -- a real missed opportunity.
    • 57 Metascore
    • 58 Shawn Levy
    The crudeness with which Mottola made "Superbad" suited that film; here, a similarly rudimentary technique detracts and distracts.
    • 44 Metascore
    • 58 Shawn Levy
    It's lovely, truly, but so heavy-handed and slipshod that it's probably best enjoyed with the sound off -- an option they're not likely to offer at the movie theater.
    • 45 Metascore
    • 58 Shawn Levy
    The chief thing he (Susser) has going for him is Gordon-Levitt, whose intense immersion in his overwritten character is laudable if the result isn't exactly likeable.
    • 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."
    • 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.
    • 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.
    • 68 Metascore
    • 58 Shawn Levy
    At 118 minutes it's longer than "The Philadelphia Story" or "Annie Hall" or "When Harry Met Sally" or "500 Days of Summer" or, well, you get it. Working from a script by Dan Fogelman that wasn't overly bright or sharp to begin with, directors Glenn Ficarra and John Requa dawdle and stretch and repeat themselves, until what should have been light and brisk becomes leaden and overdone.
    • 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.
    • 70 Metascore
    • 58 Shawn Levy
    Begins with an eye on satire but dissolves quickly into grotesquerie -- and if the first tack was a bit narrow, the second is far too scattershot.
    • 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.
    • 61 Metascore
    • 58 Shawn Levy
    The result is a handsome but deeply fractured tale.
    • 58 Metascore
    • 58 Shawn Levy
    Alas, none of it, save Kristin Scott Thomas giving a peach of a performance as a political operative, smacks of real life or vitality. Even when it evinces spasms of life, this film is, more or less, a dead fish.
    • 58 Metascore
    • 58 Shawn Levy
    The Dictator has a few laughs along its bumpy path, but not enough of them to indicate that Cohen has found a means to escape the shadows of his early career and forge a second act for himself.
    • 69 Metascore
    • 58 Shawn Levy
    Tepid, boilerplate production.
    • 49 Metascore
    • 58 Shawn Levy
    That strong presence in the center almost makes Lola Versus watchable even as it starts to get formulaic, preachy and tiresome.
    • 48 Metascore
    • 58 Shawn Levy
    This isn't the "Right Thing" in any sense.
    • 62 Metascore
    • 58 Shawn Levy
    The script's contrivances and the director's lax handling aren't enough to hold you.
    • 40 Metascore
    • 50 Shawn Levy
    There are bits of this film that titillate, undeniably, but mainly you wait for the comic to bring out the big guns, and then he leaves you feeling more teased than tickled.
    • 56 Metascore
    • 50 Shawn Levy
    If you've seen more films in your life than you have fingers, much of it will be forgotten by the time you floss the last popcorn skin from between your teeth.
    • 24 Metascore
    • 50 Shawn Levy
    If the film doesn't touch the original, it doesn't hit rock bottom, either.
    • 34 Metascore
    • 50 Shawn Levy
    Dazzling to look at but dreadful to listen to, the film is a tug-of-war of coolness and dreck.
    • 48 Metascore
    • 50 Shawn Levy
    During one or two comic set-pieces, you can see the appeal that the Ya-Yas hold for readers. But you can also sense, farther in the distance, the more vital film that might have been.
    • 50 Metascore
    • 50 Shawn Levy
    (If) you're one of those killjoys who demands logic, coherence and a semblance of human life from a movie, this one will leave you cold.
    • 69 Metascore
    • 50 Shawn Levy
    It's ambitious, sharply observed and spectacularly well-acted like so much of Sayles' canon. But it's also overstuffed and underdeveloped.
    • 46 Metascore
    • 50 Shawn Levy
    Noisy, random and hard on the eyes.
    • 46 Metascore
    • 50 Shawn Levy
    Banderas' direction is a bit of everything and a lot of not much.
    • 69 Metascore
    • 50 Shawn Levy
    Comes to be dominated by the acting, and this is an unfortunate fate.
    • 57 Metascore
    • 50 Shawn Levy
    For all its handsome decor, tasteful restraint and old-fashioned look-and-feel, is a stiff, lacking tension, sizzle, drama, energy, appeal and, finally, purpose.
    • 60 Metascore
    • 50 Shawn Levy
    The picture's strength is comedy -- but the love and crime stories too often drag, falter or just plain frustrate.
    • 32 Metascore
    • 50 Shawn Levy
    This one's painful.
    • 58 Metascore
    • 50 Shawn Levy
    Passingly engaging. But you emerge from the film knowing as much -- or, indeed, as little -- as when you went in, and that's not exactly what documentary filmmaking is all about.
    • 56 Metascore
    • 50 Shawn Levy
    The pleasures of Buffalo Soldiers mainly come early on, before the film becomes a sloppy mixture of tones and story lines. Afterward, you're left mainly puzzled and looking for a way to wash a bitter aftertaste out of your mouth.
    • 52 Metascore
    • 50 Shawn Levy
    Despite moments of atmospheric tension and a core of compelling mystery, the film feels remote, cold and, oddly, obvious.
    • 44 Metascore
    • 50 Shawn Levy
    For all the beauty it struggles to bring forth, Snow Falling on Cedars is painfully prosaic.
    • 59 Metascore
    • 50 Shawn Levy
    Starts with a flourish, staggers along for a bit and finally collapses -- even die-hard De Palma fans, will be left hungry.
    • 32 Metascore
    • 50 Shawn Levy
    This one is shot, recorded and edited without so much as a pinch of craft -- it's one of the ugliest big studio films in a long while.
    • 48 Metascore
    • 50 Shawn Levy
    Fuqua has made three films before his newest, Tears of the Sun, and they've all begun well enough but then collapsed under the weight of his heavy-handed visual technique and his indifference to plot, character and logic.
    • 49 Metascore
    • 50 Shawn Levy
    A lifeless, confused mess, peppered with laughs, yes, but illogically and crudely plotted and smothered in tonedeaf music cues.
    • 37 Metascore
    • 50 Shawn Levy
    A sequel that never rises to the giddy pitches of skewed humor that the original managed to toss off with such unexpected glee.
    • 85 Metascore
    • 50 Shawn Levy
    It's possible to be dazzled by a movie and still not like it very much.
    • 70 Metascore
    • 50 Shawn Levy
    It's a little depressing to see such a thrilling talent deployed in such an ordinary and sordid movie. Training Day isn't awful, but it's absolutely nothing special.
    • 56 Metascore
    • 50 Shawn Levy
    For the most part it's a completely ordinary, completely familiar, professionally executed film. Nothing truly awful, but nothing unexpected, either.
    • 48 Metascore
    • 50 Shawn Levy
    As two-dimensional animation, Sinbad is passably attractive, reaching a visual height when it arrives in the surreal, shifting Tartarus.
    • 44 Metascore
    • 50 Shawn Levy
    It's a Ritalin-deprived sensibility, but it keeps you skating over the dull spots, in which the film unfortunately is rich.
    • 53 Metascore
    • 50 Shawn Levy
    Strictly for boys -- grown-up boys -- the more boyish and less grown-up the better.
    • 43 Metascore
    • 50 Shawn Levy
    It's not that The Beach is a stinker, exactly. It's that nothing in it -- and that includes the gifted DiCaprio -- ever feels other than perfunctory.
    • 58 Metascore
    • 50 Shawn Levy
    The script doesn't give Bigelow enough human stuff to balance the mechanical. For good or ill, like so many other submarine thrillers before it, K-19 is more about the machine than the men.
    • 72 Metascore
    • 50 Shawn Levy
    There's a lot of fascinating talk here and a genuine passion for ideas and words. But it's also a case where the messenger is so grating that we feel the perverse urge to kill the message that he carries just to spite him.
    • 27 Metascore
    • 50 Shawn Levy
    Freddie Prinze Jr. gives cute a bad name.
    • 31 Metascore
    • 50 Shawn Levy
    In the end, the intelligence of the dialogue and crack acting are wrestled to the ground by the zealous politics, the formulaic narrative and a wan and flaccid air unusual from the reliably nifty Parker.
    • 32 Metascore
    • 50 Shawn Levy
    Its breeziness keeps it from ever being completely bland or flat.
    • 56 Metascore
    • 50 Shawn Levy
    It's so by-the-numbers and clumsy that it will only appeal to that little sect that's managed to wear out their "Evil Dead," "Friday the 13th," "Halloween" and "Nightmare on Elm Street" DVDs.
    • 57 Metascore
    • 50 Shawn Levy
    It's the sort of sophomoric exercise that will be appreciated chiefly by viewers already convinced they love it even before they've bought their tickets.
    • 45 Metascore
    • 50 Shawn Levy
    In a way, the film is a kind of experiment: Can you lop off the bulk of a classic work and still have something worth seeing? On this evidence, the answer is, despite the best intentions and some fine work, sadly no.
    • 47 Metascore
    • 50 Shawn Levy
    Now The Matrix Revolutions is here, and a verdict is justified. The death penalty seems a little strong, but can we lock this franchise up and forget where we put the key?
    • 42 Metascore
    • 50 Shawn Levy
    At 80 minutes, it feels truncated and abandoned -- a sketch of a comic thriller rather than the real thing.
    • 55 Metascore
    • 50 Shawn Levy
    With its lackluster surfaces and thin core, his (Russell) film displays neither heart nor brains enough to earn its whimsy.
    • 55 Metascore
    • 50 Shawn Levy
    A painlessly light introduction to Bollywood moviemaking, but it far too often feels like run-of-the-mill Hollywood fare.
    • 35 Metascore
    • 50 Shawn Levy
    The stifling piety of this film -- which regards anything old and vaguely arty as next to sacred -- needs some serious airing out.
    • 56 Metascore
    • 50 Shawn Levy
    Leaves you exhausted and even bored.
    • 55 Metascore
    • 50 Shawn Levy
    Manages to tell the story in generally taut, credible fashion, rising frequently on the strength of a gallery of fine performances even when the screenwriting becomes ordinary and Schumacher's touch becomes, as so often, crude and obvious.
    • 57 Metascore
    • 50 Shawn Levy
    As it goes on and on and on, Coach Carter becomes more patience-testing than soul-stirring, proving that you can overdose on good intentions as easily as you can on evil substances.
    • 37 Metascore
    • 50 Shawn Levy
    In Be Cool, a wonderful cast essays a lively script and manages to make a decent film out of it.
    • 47 Metascore
    • 50 Shawn Levy
    By the time of the fabled match -- which you could swear lasts a full 90 minutes -- it's all you can do to keep your skin from crawling off your body and slinking to the safety of another room. Do yourself a favor: Follow it.
    • 57 Metascore
    • 50 Shawn Levy
    By and large it's formulaic and dull.
    • 53 Metascore
    • 50 Shawn Levy
    You should come out of a film like Apres Vous with your heart as light and fluffy as a souffle. But this farce, credited to four chefs, er, writers, is as heavy and leaden as meatloaf.
    • 65 Metascore
    • 50 Shawn Levy
    It's the screenwriting equivalent of those fat substitutes used by snack food manufacturers: the finished product looks all right but the taste is off, and the aftereffects are embarrassing and uncomfortable.
    • 33 Metascore
    • 50 Shawn Levy
    Director Jay Chandrasekhar ("Super Troopers") will never be mistaken for an artist. But he's competent with crude humor and manages to balance affectionate parody and rote imitation.
    • 45 Metascore
    • 50 Shawn Levy
    Marcus, like the real-life Jackson, survives being shot nine times. But this film is dead on arrival.
    • 57 Metascore
    • 50 Shawn Levy
    The story, as so often in bad farce, treats them all as idiots, so it's almost impossible be engaged by anything other than the pretty rooms, gondolas and costumes.
    • 37 Metascore
    • 50 Shawn Levy
    The problem is that so little in this version of All the King's Men speaks to the here and now or even speaks clearly. It feels like a repertory exercise -- and not a very successful one at that.
    • 64 Metascore
    • 50 Shawn Levy
    While the film has visual verve, its faux-Fellini finale only underscores how remote, repetitive, uninvolving and contrived the whole enterprise is.
    • 47 Metascore
    • 50 Shawn Levy
    The plot is like a sudoku puzzle with all but one square filled in.
    • 64 Metascore
    • 50 Shawn Levy
    It's part action film, part buddy movie, part love story, part political tract and, in sum, much less: a meandering, preachy, condescending mess that only occasionally bursts into life and even then at such a tepid level that you can hardly call it living.
    • 53 Metascore
    • 50 Shawn Levy
    Stunningly photographed, acted with occasional bravura and structured with exacting precision, it fails to sing more than once or twice, and then only briefly. [2 Feb 1996]
    • 36 Metascore
    • 50 Shawn Levy
    In I'm Reed Fish, Jay Baruchel is cast as a leading man with two attractive girlfriends, and, sorry, I'm frankly more prepared to accept Stephen Hawking as an action hero.
    • 45 Metascore
    • 50 Shawn Levy
    The acting is the strongest thing about the film. Pitt nicely balances the dashing and wounded sides of Tristan's character. [13 Jan 1995]
    • 61 Metascore
    • 50 Shawn Levy
    Almost nothing that's said or done here is convincing. And the energy is set at near-coma level.
    • 55 Metascore
    • 50 Shawn Levy
    Clumsiness follows clumsiness -- the acting, the staging, the details of the plot -- until you reach the point of cool indifference. There's a lot more wrong here than can be corrected in a small space in the newspaper.
    • 34 Metascore
    • 50 Shawn Levy
    Think of the worst Spielberg thriller or one of Hitchcock's dull late career works, then make it ugly and fill it with bad performances; voila: The Happening.
    • 60 Metascore
    • 50 Shawn Levy
    What the picture doesn't do is make sense of the world it tries to depict, or even, truly, depict it. Biggie -- and, for that matter, Woolard -- deserved better.
    • 48 Metascore
    • 50 Shawn Levy
    Perhaps this is what fans want from a movie like this: to sit back as if in a Jacuzzi and get a quick impression of history and Rome and such. If so, Howard, Brown and company likely have another monster hit on their hands.
    • 63 Metascore
    • 50 Shawn Levy
    Whereas "Liaisons" mixed cruelty, wit, sensuality and drama into a deliciously tart frappe, Cheri is pretty, tepid and dull.
    • 57 Metascore
    • 50 Shawn Levy
    Despite some arresting visual flourishes and Downey’s inherent likeability, it’s nearly incoherent both as cinema and as story. No, this isn’t your grandfather’s or your father’s Sherlock Holmes, but if theirs featured Basil Rathbone or Jeremy Brett in the lead, it was better by miles.
    • 49 Metascore
    • 50 Shawn Levy
    Eventually, the inconsistency wears, and the film provokes mostly indifference and restlessness.
    • 65 Metascore
    • 50 Shawn Levy
    A movie that tells -- or rather, circles -- the story of the band's formation and abortive career.
    • 39 Metascore
    • 50 Shawn Levy
    It all passes quickly, as far as that goes, but when it’s over it passes entirely. And something that sells for a premium price ought to linger.
    • 34 Metascore
    • 50 Shawn Levy
    Suffers from sludgy pacing, flat writing and acting, and a strange and puzzling fondness for scatology and coarse language.
    • 56 Metascore
    • 50 Shawn Levy
    With Paul Rudd as the would-be mocker and Steve Carell as the mockee, and all manner of new supporting characters and plot lines thrown in, and much less energy, delight, wit, humor and fun than the original was able to muster without any evident strain. There's the occasional bubble, I confess, but almost no delight.
    • 55 Metascore
    • 50 Shawn Levy
    A hodgepodge of bits cribbed from such films as "Centurion," "Apocalypto," "300" and "Gladiator."
    • 64 Metascore
    • 50 Shawn Levy
    It's certainly all Araki up there, and the film is handsome and swiftly paced. But it also feels terribly routine and even, strangely, for all the trangressiveness it strives for, retrograde.
    • 55 Metascore
    • 50 Shawn Levy
    There's plenty of blood and screaming and mayhem, and it's not particularly well-staged, shot or cut -- though I suppose actually caring about film craft denotes one as a spoilsport in this context.
    • 37 Metascore
    • 50 Shawn Levy
    The nearest thing to W. E. is Sofia Coppola's "Marie Antoinette," which tried to make a sympathetic victim of another of history's most notorious royal wives.
    • 62 Metascore
    • 50 Shawn Levy
    Comedy means different things to different people, but I'm pretty sure that most everyone agrees that it's best when it's quick and funny. The Five-Year Engagement is neither.
    • 55 Metascore
    • 50 Shawn Levy
    'Bloodless' is the word for the whole enterprise.
    • 53 Metascore
    • 50 Shawn Levy
    There's handmade and then there's amateurish. This, alas, is the latter.
    • 52 Metascore
    • 42 Shawn Levy
    To be fair, the film is trash and doesn't aspire to very much, but it's bad trash -- inept -- and that really isn't forgivable.
    • 49 Metascore
    • 42 Shawn Levy
    For all its bells and whistles, only when it lingers on Jones' dry wit and pained, rheumy eyes does this film about aliens ever seem alive, let alone human.
    • 33 Metascore
    • 42 Shawn Levy
    It's a yawn for the most part, depending on dull characters and uninvolving twists.
    • 58 Metascore
    • 42 Shawn Levy
    It's a gorgeous picture and features three substantial performances, but the material is chatty, forced and excessively arch.
    • 44 Metascore
    • 42 Shawn Levy
    You need to accept the fact that practically everyone in the picture, particularly the leading lady, is a boneheaded nitwit.
    • 44 Metascore
    • 42 Shawn Levy
    An unsteady and uneven film, which bangs up against its ambitions gracelessly and distractingly.
    • 44 Metascore
    • 42 Shawn Levy
    After a cheeky, campy start, The Ninth Gate leaves you with a bitter and dull aftertaste.
    • 47 Metascore
    • 42 Shawn Levy
    What it plays like is a trifling story strung out to great length without much narrative drive, tinged with some disturbing racial undertones.
    • 52 Metascore
    • 42 Shawn Levy
    Isn't sexy, funny, smart or fun.
    • 76 Metascore
    • 42 Shawn Levy
    The Dardennes are talents, clearly. Watching Rosetta is like watching them flip you the bird.
    • 47 Metascore
    • 42 Shawn Levy
    Too often monochromatic, programmatic and just plain lost.
    • 40 Metascore
    • 42 Shawn Levy
    Takes a fabulous idea and overplays it, making an average picture out of some truly extraordinary material.
    • 64 Metascore
    • 42 Shawn Levy
    Capable but not transporting, never unraveling the mystery of its hero's genius or, worse, making us care enough to look deeper.
    • 54 Metascore
    • 42 Shawn Levy
    Among the things made vividly clear here is that Jeremy cannot act.