Emanuel Levy

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Variety
For 146 reviews, this critic has graded:
  • 56% higher than the average critic
  • 2% same as the average critic
  • 42% lower than the average critic
On average, this critic grades 2.9 points lower than other critics. (0-100 point scale)

Emanuel Levy's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Cold Comfort Farm
Lowest review score: 20 The Art of War
Score distribution:
  1. Positive: 74 out of 146
  2. Mixed: 57 out of 146
  3. Negative: 15 out of 146
146 movie reviews
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    • 35 Metascore
    • 50 Emanuel Levy
    A Rumor of Angels
    Despite good acting from the entire cast, yarn is a bit dull and predictable, straining too hard to convey its spiritual message.
    • 45 Metascore
    • 50 Emanuel Levy
    The Weight of Water
    Despite recurrent narrative and dramatic problems, each of Bigelow's pics provides a visual treat, and this film is no exception.
    • 44 Metascore
    • 60 Emanuel Levy
    Nowhere
    A vibrantly colorful, wildly nihilistic and lovingly perverse poem to America's beautiful, libidinous and doomed youth. Though not his best, Araki's sixth feature is without a doubt his most accessible, sensual and superficially entertaining movie to date.
    • 75 Metascore
    • 40 Emanuel Levy
    Twelve Monkeys
    Gilliam's work is long on sensibility, short on sense.
    • 73 Metascore
    • 60 Emanuel Levy
    The Limey
    One has no problem praising the bravura acting of the entire ensemble.
    • 30 Metascore
    • 40 Emanuel Levy
    Feeling Minnesota
    Meant to be an offbeat, darkly comic tale of a triangle of losers desperately clinging to their versions of the American dream, pic comes across as a charmless high-concept indie.
    • 32 Metascore
    • 40 Emanuel Levy
    Kill by Inches
    The atmosphere is properly bizarre and in moments even scary, but there's no involving story or characters to sustain the feature-length narrative.
    • 47 Metascore
    • 40 Emanuel Levy
    U.S. Marshals
    Stuart Baird's new thriller is inferior to the Andrew Davis movie in every respect: script, acting, rhythm and even tech credits.
    • 68 Metascore
    • 60 Emanuel Levy
    Slums of Beverly Hills
    A notch or two above the level of a TV sitcom, Slums of Beverly Hills, Tamara Jenkins' semi-autobiographical feature directorial debut, is a bawdy, extremely broad comedy.
    • 67 Metascore
    • 50 Emanuel Levy
    Manny & Lo
    Despite the imaginative setup and the original sensibility, pic ultimately suffers from a slight, rather contrived narrative and a lack of secondary characters.
    • 67 Metascore
    • 40 Emanuel Levy
    Too Much Sleep
    The material is slender, the characters not sufficiently engaging or eccentric for a feature-length movie.
    • 65 Metascore
    • 60 Emanuel Levy
    Pecker
    A pleasant but ephemeral spoof that may disappoint Waters' hard-core fans while not recruiting many new devotees.
    • 64 Metascore
    • 60 Emanuel Levy
    He Got Game
    Lacking the moral indignation, outrage and militant politics that marked Lee's earlier work, this vibrantly colorful film is a tad too soft at the center, and arguably the director's most mainstream movie.
    • 63 Metascore
    • 60 Emanuel Levy
    Boiler Room
    Begins extremely well as a saga of greed and conspicuous consumption, but gradually loses its bite.
    • 62 Metascore
    • 50 Emanuel Levy
    The Golden Bowl
    A deliberately paced literary film that takes too long to build narrative momentum and explore its central dramatic conflicts.
    • 62 Metascore
    • 50 Emanuel Levy
    Fear of a Black Hat
    Good musical numbers serve as welcome punctuation to a film that grows increasingly tedious.
    • 61 Metascore
    • 60 Emanuel Levy
    A Midsummer Night's Dream
    Whimsical, intermittently enjoyable but decidedly unmagical.
    • 61 Metascore
    • 60 Emanuel Levy
    She's So Lovely
    Writer John Cassavetes wants to show that there’s nothing like the purity of first love, but he doesn’t provide his triangle sufficient psychological motivation to ground their otherwise erratic behavior. The script feels incomplete, and is further marred by a missing third act and a lack of discernible point of view.
    • 60 Metascore
    • 50 Emanuel Levy
    The Delta
    Sachs commits a major error by deciding to center on Lincoln’s character, for John is a far more interesting, complex and disturbing personality.
    • 60 Metascore
    • 60 Emanuel Levy
    Keeping the Faith
    Norton directs with assurance.
    • 60 Metascore
    • 60 Emanuel Levy
    To Wong Foo Thanks for Everything, Julie Newmar
    Ultimately, the comedy comes across as a celebration of openness, alternative lifestyles and bonding, all life-affirming values that in the 1990s are beyond reproach — or real controversy.
    • 59 Metascore
    • 50 Emanuel Levy
    Anywhere But Here
    With half a dozen roles to her credit, Portman is a natural performer who brings rough edges to any role she plays -- the movie is inconceivable without her.
    • 59 Metascore
    • 60 Emanuel Levy
    The Contender
    The large, talented cast elevates the film above the trappings of its loquacious debates, particularly Allen.
    • 59 Metascore
    • 60 Emanuel Levy
    Mr. Holland's Opus
    An idealized tribute to a charismatic teacher who has devoted his entire life to music appreciation, Mr. Holland’s Opus has the same old-fashioned texture as Goodbye, Mr. Chips. Older audiences will be moved by the story, but the crucial variable is to what extent younger viewers will embrace this schmaltzy, Capraesque saga that’s not only set mainly in the past but also feels as if it were made back when.
    • 57 Metascore
    • 60 Emanuel Levy
    Benny & Joon
    Johnny Depp and Mary Stuart Masterson render such startling performances in the romantic fable Benny & Joon that they almost overcome the trappings of an emotional tale that is not particularly well written or directed.
    • 57 Metascore
    • 60 Emanuel Levy
    The Newton Boys
    An extremely handsome production that meticulously evokes the 1920s, and a likable male-dominated cast, headed by Matthew McConaughey in his best screen performance to date, only partially compensate for a story that's too diffuse and lacks a discernible point of view that would make it dramatically engaging.
    • 57 Metascore
    • 40 Emanuel Levy
    Home for the Holidays
    But Foster is unable to give the episodic, fragmented film a coherent feel; her prosaic, sometimes irritating picture proceeds scene by scene, with the requisite climaxes and anticlimaxes along the bumpy road.
    • 56 Metascore
    • 50 Emanuel Levy
    Anna and the King
    Her (Foster's) performance is contained in a schmaltzy, ultra-elaborate, overly long production.
    • 56 Metascore
    • 50 Emanuel Levy
    Bamboozled
    Occasionally biting but excessively melodramatic.
    • 55 Metascore
    • 60 Emanuel Levy
    The Craft
    Four gifted and attractive actresses struggle hard to lend a semblance of dramatic coherence to The Craft, a neatly crafted film that begins most promisingly as a black comedy a la Heathers, but gradually succumbs to its tricky machinery of special effects. Still, young audiences, particularly women, are likely to connect with this energetic high-school tale about the vengeful empowerment of rebellious misfits.
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