Shirley Li

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Entertainment Weekly, The Atlantic
For 76 reviews, this critic has graded:
  • 86% higher than the average critic
  • 1% same as the average critic
  • 13% lower than the average critic
On average, this critic grades 11.7 points higher than other critics. (0-100 point scale)

Shirley Li's Scores

  • Movies
  • TV
Average review score: 77
Highest review score: 98 May December
Lowest review score: 38 My Big Fat Greek Wedding 3
Score distribution:
  1. Positive: 65 out of 76
  2. Mixed: 8 out of 76
  3. Negative: 3 out of 76
76 movie reviews
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    • 56 Metascore
    • 73 Shirley Li
    Hocus Pocus 2
    Like the trio of eccentric spell-casting divas at its center, this follow-up is bizarre, flashy, and chaotic. And yet, it’s also satisfying to take in.
    • 55 Metascore
    • 70 Shirley Li
    Megalopolis
    What [Coppola] ultimately created isn’t the realization of his aspirations; it’s an unfinished work, waiting for our reality to catch up to his fantasy.
    • 54 Metascore
    • 72 Shirley Li
    Strays
    The movie is, in the end, deeply unserious and completely mindless, but still strangely sweet.
    • 53 Metascore
    • 50 Shirley Li
    Emancipation
    Despite a committed cast and often stunning cinematography, the film’s script is too blunt and the direction too ham-fisted to make Emancipation anything more than another rote—albeit expensive—entry in the slavery-movie genre.
    • 53 Metascore
    • 73 Shirley Li
    Fly Me to the Moon
    The film doesn’t offer much wisdom about how we should deal with our growing unreality, but it is a charming diversion. In a way, its very shallowness is the point: Sometimes, the film posits, what we want to see matters more than what we actually do.
    • 52 Metascore
    • 79 Shirley Li
    Eternals
    Zhao's delicate examination of her characters outshines Eternals' duller and more convoluted moments.
    • 52 Metascore
    • 77 Shirley Li
    Magic Mike's Last Dance
    Mike and Max’s relationship—in which she whisks him off to London so he can direct an all-male revue at the theater she owns—is the stuff of romance novels, but that’s the point: Last Dance is all wish fulfillment, seductive and surreal.
    • 50 Metascore
    • 75 Shirley Li
    The Marvels
    It delivers many of the ingredients expected of a Marvel movie—cheer-worthy cameos; cute, fuzzy sidekicks courtesy of the catlike Flerkens, and a truly exciting mid-credits scene that’ll spawn countless speculative blog posts about the MCU’s future—while also keeping a keen focus on its characters.
    • 50 Metascore
    • 67 Shirley Li
    Snow White
    Snow White chooses to be fearless. A studio can too—even if this one so rarely does.
    • 49 Metascore
    • 60 Shirley Li
    Bullet Train
    Bullet Train is stupid fun—all neon-drenched style over substance. It’s the kind of late-summer flick that coasts on nonsense, violence, and actors trying out questionable accents. The film is a solid showcase for hand-to-hand combat up until it devolves into CGI drudgery.
    • 48 Metascore
    • 76 Shirley Li
    Gran Turismo
    The result is a mishmash of subgenres that, surprisingly, works.
    • 47 Metascore
    • 68 Shirley Li
    Fantastic Beasts: The Secrets of Dumbledore
    If the series were to fizzle out, that would be a relief. No amount of movie magic can save it now.
    • 47 Metascore
    • 39 Shirley Li
    Godzilla x Kong: The New Empire
    Its spectacle is even duller than its story, which is already nonsensical.
    • 35 Metascore
    • 38 Shirley Li
    My Big Fat Greek Wedding 3
    With a shapeless plot that tediously unfolds, the film is uncomfortable to watch. Even Vardalos, who directs for the first time, seems to struggle with mustering actual interest in her own material.
    • 30 Metascore
    • 42 Shirley Li
    The Crow
    A generic and plodding revenge thriller that’s nowhere near bold enough to justify the franchise’s resurrection.
    • 30 Metascore
    • 58 Shirley Li
    The Electric State
    The Electric State is so transparently eager to satisfy as many demographics of viewers as possible that it proves its own message: that a world dependent on business interests and technological optimization dulls artistic potential and human ingenuity. All that’s left is a wasteland of half-baked ideas searching for a home.
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