For 88 reviews, this critic has graded:
  • 71% higher than the average critic
  • 4% same as the average critic
  • 25% lower than the average critic
On average, this critic grades 3.7 points lower than other critics. (0-100 point scale)

Jeff Shannon's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Quiz Show
Lowest review score: 25 Blank Check
Score distribution:
  1. Positive: 55 out of 88
  2. Negative: 13 out of 88
88 movie reviews
    • 37 Metascore
    • 63 Jeff Shannon
    Although it drags for 105 lugubrious minutes, Striptease is not the embarrassment that Showgirls was - not by a long shot.
    • 34 Metascore
    • 38 Jeff Shannon
    A chaotic, juvenile slag-heap of semi-futuristic action that should make at least a few Hollywood idiots think twice about adapting another video game.
    • 34 Metascore
    • 50 Jeff Shannon
    Unfortunately, Shapiro borrows from too many movies (his climax vaguely recalls "Stranger on a Train") to let his story's potential shine through, and so "The Crush" remains an exercise in diminishing returns. [3 Apr 1993, p.C5]
    • The Seattle Times
    • 49 Metascore
    • 50 Jeff Shannon
    Class Act doesn't even try to live up to its title, so if your taste in movies runs to the juvenile, you've come to the right place. [05 Jun 1992, p.28]
    • The Seattle Times
    • 73 Metascore
    • 88 Jeff Shannon
    Worthy of this and future adaptations, Of Mice and Men is blessed by timeless quality. [16 Oct 1992, p.22]
    • The Seattle Times
    • 17 Metascore
    • 25 Jeff Shannon
    At the risk of confessing a breech of duties, I "watched" much of the film with my eyes closed, isolating the soundtrack only because I could always accurately guess what was happening on the screen . . . which wasn't much, believe me. [20 Mar 1993, p.C6]
    • The Seattle Times
    • 76 Metascore
    • 100 Jeff Shannon
    This smooth-as-silk comedy could not be more timely, or connect more hopefully with our current national consciousness.
    • 33 Metascore
    • 50 Jeff Shannon
    Even if you're judging by quantity, not quality, Fatal Instinct is merely comatose on arrival. [29 Oct 1993, p.D31]
    • The Seattle Times
    • 48 Metascore
    • 75 Jeff Shannon
    It's trashy to the bone, but director Ernest Dickerson targets just the right tone for tension and comic relief, and keeps the whole thing rolling in Grand Guignol style. It may be disposable, but "Demon Knight" is never boring. It's consistently hilarious and just outrageous enough to make Gaines spin happily in his grave. [13 Jan 1995, p.H26]
    • The Seattle Times
    • 35 Metascore
    • 63 Jeff Shannon
    Unfortunately, the highlights are sporadic. British co-directors Rocky Morton and Annabel Jankel created the similarly ambitious "Max Headroom" TV series, but they lack the visionary gifts of Terry Gilliam, and so Super Mario Bros. remains more of a game than the awesome movie it's trying to be. Can anyone say that's surprising?
    • 64 Metascore
    • 75 Jeff Shannon
    With its ever-so-earnest desire to shed light on the complex social issues of gang influence in Los Angeles, South Central is a film that's good - or at least, easily recommendable - in spite of itself. [06 Nov 1992, p.27]
    • The Seattle Times
    • 52 Metascore
    • 75 Jeff Shannon
    It may not add up in the end, but it's fun while it lasts. [01 Oct 1993, p.D14]
    • The Seattle Times
    • 38 Metascore
    • 50 Jeff Shannon
    Pathetically uninspired. [10 Dec 1993, p.G3]
    • The Seattle Times
    • 41 Metascore
    • 38 Jeff Shannon
    Nowhere to Run isn't the worst of its kind - it's just painfully uninspired. Perhaps that partially accounts for Van Damme's apparent disinterest. With one expression at his command, it's surprising that he actually musters three distinct acting styles: concrete, steel, and petrified wood. [15 Jan 1993, p.18]
    • The Seattle Times
    • 63 Metascore
    • 75 Jeff Shannon
    The pleasure of Bergman's style comes from the extremes that his characters must endure to arrive at that predictable point, and the new tricks that Bergman can teach to an old-dog story line. The airborne climax of "Honeymoon in Vegas" - involving those Flying Elvises (Utah Chapter!) that you've probably heard about by now - turns the ending of countless other movies into something new under the setting desert sun. [28 Aug 1992, p.3]
    • The Seattle Times
    • 46 Metascore
    • 63 Jeff Shannon
    Ultimately, however, the film belongs to Turner and Quaid, whose obvious pleasure extends to Shaw and especially Tucci, who after playing really nasty villains for years reveals some heretofore unknown comedic flair.
    • 55 Metascore
    • 75 Jeff Shannon
    There are moments in Love Affair that take your breath away, sending you back to a time when class and discretion were the movie rule, and not the rarefied exception. [21 Oct 1994, p.H36]
    • The Seattle Times
    • 54 Metascore
    • 63 Jeff Shannon
    If nothing else, this offbeat comedy delivers a handful of satisfying laughs and proves that four-year "Saturday Night Live" veteran Mike Myers can safely escape his "Wayne's World" alter ego. [30 July 1993, p.D12]
    • The Seattle Times
    • 44 Metascore
    • 25 Jeff Shannon
    Earning instant shame as the worst film of the year so far, "Chasers" offers all the proof anyone will ever need that a theatrically released feature film can be just as bad - and far worse - than the most inanely boring garbage that passes for television these days. [23 Apr 1994]
    • The Seattle Times
    • 41 Metascore
    • 63 Jeff Shannon
    The irony of it all is that "Stay Tuned" is itself a TV show, filled with razzle-dazzle, but unfolding with the wispy depth of a sit-com. That makes the casting of TV veterans Ritter and Dawber totally appropriate (and lends the physically hilarious Ritter a good-natured dig at "Three's Company"), but Parker and Jennewein don't capitalize on the potential of their ideas. The nuggets are there ("don't watch so much television" is the basic extent of the message), but if taken more seriously, "Stay Tuned" might've been a funny and deeply affecting film. Instead it's just funny . . . which is OK. [15 Aug 1992, p.C3]
    • The Seattle Times
    • 56 Metascore
    • 63 Jeff Shannon
    Given the time-tested durability of a decent boy-and-his-dog adventure, Iron Will can't steer too far off course. [14 Jan 1994, p.D20]
    • The Seattle Times
    • 59 Metascore
    • 63 Jeff Shannon
    It's interesting to note that one of the most sensuous scenes in "The Lover" - which nearly received an NC-17 rating for its abundance of explicit lovemaking - takes place between two fully clothed people who very cautiously hold hands while riding in the back of a luxurious limousine. There is an electricity to that moment that is almost completely missing from the actual love scenes, which, like the entire film, are artfully photographed and subtly erotic, but which ultimately add little to a character study that could have used a little more (pardon the pun) fleshing out. [13 Nov 1992, p.3]
    • The Seattle Times
    • 29 Metascore
    • 50 Jeff Shannon
    It is routine but watchable fare (set in Portland, partially filmed in Olympia), steeped in movie tradition and executed with admirable craftsmanship . . . and enough naked Madonna to make everything else a trivial distraction. [15 Jan 1993, p.3]
    • The Seattle Times
    • 33 Metascore
    • 38 Jeff Shannon
    It's perhaps the only film that could make you wish they'd made a sequel to "Encino Man" instead. [2 July 1993, p.D24]
    • The Seattle Times
    • 64 Metascore
    • 75 Jeff Shannon
    By showing us the human side of poverty, Where the Day Takes You proves that a society is best judged by the treatment of its least fortunate members. [11 Sep 1992, p.21]
    • The Seattle Times
    • 72 Metascore
    • 75 Jeff Shannon
    ueled by the street-wise authority of screenwriter Richard Price ("Sea of Love"), this jazzed-up remake takes a few basic cues from the '47 original, but otherwise it's a sharply updated morality play, toughened by the fact that good and evil aren't so clearly defined. [21 Apr 1995, p.H3]
    • The Seattle Times
    • 59 Metascore
    • 75 Jeff Shannon
    By the time he's hiding at a pregnancy retreat disguised as a former female Olympic athlete, Junior has pretty much hit the bullseye. [23 Nov 1994, p.D3]
    • The Seattle Times
    • 50 Metascore
    • 38 Jeff Shannon
    Passenger 57 is so completely routine and devoid of imagination that it seems to have been directed on auto-pilot. [09 Nov 1992, p.D4]
    • The Seattle Times
    • 70 Metascore
    • 75 Jeff Shannon
    With its dream cast and a burst of cinematic endorphins, The Paper is delivered on time, its headlines written large for enjoyable mass consumption. [25 March 1994, p.D3]
    • The Seattle Times
    • 34 Metascore
    • 25 Jeff Shannon
    The real criminals here are writers William Davies and William Osborne (obviously pseudonyms for Beavis and Butt-head), who have concocted a derivative, imbecilic anything-goes premise serving only to provide random opportunities for the CGI wizards to strut their stuff. [31 Dec 1993, p.C14]
    • The Seattle Times

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