Alan Scherstuhl

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For 332 reviews, this critic has graded:
  • 60% higher than the average critic
  • 3% same as the average critic
  • 37% lower than the average critic
On average, this critic grades 7.2 points higher than other critics. (0-100 point scale)

Alan Scherstuhl's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 It's a Disaster
Lowest review score: 0 Saving Lincoln
Score distribution:
  1. Negative: 29 out of 332
332 movie reviews
    • 95 Metascore
    • 100 Alan Scherstuhl
    The fights Virunga documents couldn't feel more urgent. This is one of the year's most compelling and important films.
    • 93 Metascore
    • 100 Alan Scherstuhl
    Porter's film is dramatic, unsettling, despairing, and in the end thrilling -- at some point, it grows from a portrait of this country's problems into a celebration of a possible solution.
    • 90 Metascore
    • 100 Alan Scherstuhl
    This film, a great one, demands a follow-up.
    • 89 Metascore
    • 70 Alan Scherstuhl
    The killing is bloody, the power struggles involving, the history-class examinations of the relations between mines and unions and gangsters fascinating, and the tough-guy routines, while sometimes tiresome, never less than credible.
    • 89 Metascore
    • 70 Alan Scherstuhl
    For all the ways the movie feels singular and impossible, like something the studio suits couldn't possibly have signed off on, Fury Road also feels entirely of its era. I admire its craft and cruel wit, and its willingness to trust us to work out the particulars of its world, but it lulled me into that familiar state of summertime action fatigue, of being worn down by the violence rather than geared up, of waiting the mayhem out rather than tracking it.
    • 88 Metascore
    • 100 Alan Scherstuhl
    This patient, beautiful, painful, engrossing film pits husband and wife against each other and their world in a series of extended conversations/confrontations.
    • 88 Metascore
    • 80 Alan Scherstuhl
    Poitras shows us history as it happens, scenes of such intimate momentousness that the movie's a must-see piece of work even if, in its totality, it's underwhelming as argument or cinema.
    • 87 Metascore
    • 100 Alan Scherstuhl
    A genuine nail-biter, scrupulously made and fully involving, elemental in its simplicity.
    • 87 Metascore
    • 90 Alan Scherstuhl
    This superb, suspenseful film, completed in 2009, opens as a playful comedy of vacationing couples and awkward romance, one that might be set in the French countryside, but by the end has become a moral drama likely to corrode your certainties.
    • 87 Metascore
    • 100 Alan Scherstuhl
    Levinson follows the ups and downs of bringing that beast of a collider online, but the movie's deepest thrill lies in what these men and women will theorize next, and how they will test it.
    • 87 Metascore
    • 90 Alan Scherstuhl
    The director invites us in, to play and dream.
    • 86 Metascore
    • 100 Alan Scherstuhl
    Patient, observational film demands you surrender to it, that you keep your phone in your pocket, which means that movie theaters now sometimes offer a more unmediated look at the world than modern life itself.
    • 86 Metascore
    • 100 Alan Scherstuhl
    The film, while wrenching and audacious, is crafted with that humane and observational mastery of great Iranian cinema of recent decades.
    • 86 Metascore
    • 100 Alan Scherstuhl
    Jennifer Kent's maternal nightmare The Babadook is the imperial stout of recent fright flicks -- it's the one that will have you walking funny and might rip into your sleep. It's hard to say that you'll enjoy this film, but it's hard not to admire it, if maybe with your eyes half shut.
    • 86 Metascore
    • 100 Alan Scherstuhl
    Vital, illuminating, and terrifying, Rory Kennedy's Last Days in Vietnam probes with clarity and thoroughness one moment of recent American history that has too long gone unreckoned with.
    • 85 Metascore
    • 100 Alan Scherstuhl
    Raw and insistent, bold and brawling, Girlhood throbs with the global now, illustrating the ways an indifferent society boxes in the people who grow up in project-style boxes.
    • 85 Metascore
    • 90 Alan Scherstuhl
    Accomplishes the nearly impossible trick of updating viewers on the prevalence of genocide in the 20th and 21st centuries without rubbing our noses in our failure to stop it.
    • 84 Metascore
    • 100 Alan Scherstuhl
    [A] strange, singular heartbreaker of a film about life still flourishing in the most inhospitable conditions.
    • 83 Metascore
    • 90 Alan Scherstuhl
    The movie is revealing, wrenching, and important, a reminder that what feels wrong in our gut—the effort to turn free-roaming and unknowable beasts into caged vaudevillians—is always worth investigating.
    • 83 Metascore
    • 80 Alan Scherstuhl
    For all the hurtling plot, and its occasional workaday scenecraft, Burning Bush proves an engrossing historical drama, low-key but in its final moments devastating.
    • 83 Metascore
    • 90 Alan Scherstuhl
    Even if you know this history already, A.K.A. Doc Pomus is vital and endearing, a celebration of a great artist, a great character, and the universality of great pop.
    • 83 Metascore
    • 100 Alan Scherstuhl
    The film is richly detailed, and its acting seems almost invisible — the performers just seem to be these people. Court is one of the strongest debut features in years.
    • 82 Metascore
    • 60 Alan Scherstuhl
    [The] conversation peters out as the film grinds on, the men getting competitive and the camera nosing into their faces. Everyone involved sifts the material a little too hard for clues to Wallace's eventual suicide.
    • 82 Metascore
    • 80 Alan Scherstuhl
    The film, with its traditional mix of talking heads and vintage footage, does not try to hide the Panthers' advocacy of violence.
    • 82 Metascore
    • 100 Alan Scherstuhl
    This is a haunting puzzle of a movie, one to pick at, to unpeel, to see a second time through eyes that have adjusted to it. It's also alive with tender, tremulous feeling.
    • 82 Metascore
    • 90 Alan Scherstuhl
    Director James Ponsoldt gives us long, loose, single-shot courtship scenes, each a marvel of staging and performance.
    • 82 Metascore
    • 100 Alan Scherstuhl
    Some critics find Andersson's latest redundant, arguing that its sketches lack the freshness of those in Songs From the Second Floor. I found it the fullest flowering yet of his approach, with Andersson orchestrating his finest dada — and even risking tenderness and horror.
    • 81 Metascore
    • 90 Alan Scherstuhl
    A simple, solid, deeply affecting film.
    • 81 Metascore
    • 70 Alan Scherstuhl
    Augmenting his talking heads with animation and inspired stock footage, Gibney dignifies Hubbard with the capacity to conjure feelings of connection and magnificence, never losing sight of what brings people into the fold, which makes their attempts to escape it all the more harrowing. Still, the richness of detail of Wright's book is lost.
    • 81 Metascore
    • 100 Alan Scherstuhl
    A pained and gorgeous summoning, Petra Costa's haunted doc Elena dances with death, memory, and family, seducing viewers and then breaking their hearts.

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