Alan Scherstuhl

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For 496 reviews, this critic has graded:
  • 61% higher than the average critic
  • 3% same as the average critic
  • 36% lower than the average critic
On average, this critic grades 6.1 points higher than other critics. (0-100 point scale)

Alan Scherstuhl's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 Little Men
Lowest review score: 0 Saving Lincoln
Score distribution:
  1. Negative: 39 out of 496
496 movie reviews
    • tbd Metascore
    • 60 Alan Scherstuhl
    Jason and Shirley is imprecise, even maddening history, but it's hair-raising as historicity: Exposed here is the longstanding and somewhat vampiric process of white artists extracting for their work minority perspectives and experiences.
    • 45 Metascore
    • 60 Alan Scherstuhl
    It's all rather familiar, but the key image of a glacier glazed over with something like gore proves majestic, and tension throbs throughout a scene of a scientist following his dog into a blood-veined tunnel inside that glacier.
    • 66 Metascore
    • 60 Alan Scherstuhl
    Berg might have proven that there's a circle of powerful creeps, but not that the blame for this goes straight to the top.
    • tbd Metascore
    • 60 Alan Scherstuhl
    Sometimes Citizen Hearst feels as breezy and electric as the newsreels Hearst pioneered; other times it feels like the video they'll make you watch during orientation on your first day at 300 West 57th.
    • 38 Metascore
    • 60 Alan Scherstuhl
    All My Children's Brittany Allen proves herself a big-screen presence as the lead earthling; her commitment to each scene's emotional truth is all the more impressive considering that the schoolboyish Vicious Brothers introduce her character ass-first.
    • 52 Metascore
    • 60 Alan Scherstuhl
    Director Dito Montiel aspires to sensitive drama, but Douglas Soesbe's script too often mires Williams in pat situations.
    • 67 Metascore
    • 60 Alan Scherstuhl
    Condon, like this Holmes, can't quite keep everything in his story straight and clear, but he and his film come close just often enough.
    • 57 Metascore
    • 60 Alan Scherstuhl
    The Mule proves a tough sit, but by the end you might be satisfied you gritted through it.
    • 54 Metascore
    • 60 Alan Scherstuhl
    You get enough of a sense of this place and these men — and that widow! — that it's a disappointment when, in the end, we just have to watch it all blow to hell.
    • 56 Metascore
    • 60 Alan Scherstuhl
    Even if you've read the novel, and are prepared for the long running time and haphazard structure, this isn't a movie you should expect to feel or even closely follow. See it if Midnight's Children is a novel you always wanted the gist of.
    • 68 Metascore
    • 60 Alan Scherstuhl
    When it slows down, when it gives you time to think, Popstar reveals its weaknesses.
    • 59 Metascore
    • 60 Alan Scherstuhl
    The longer versions of all Jackson's Middle-earth films have played better (and made more sense) than their theatrical cuts, but this time he's trimmed out something absolutely vital, the one element that, besides his mad gore-minded grandiloquence, has kept everything together five films running: an attention to the emotional lives of his hobbits.
    • tbd Metascore
    • 60 Alan Scherstuhl
    This comic noir is best when it's more comic, in both senses of the word.
    • 69 Metascore
    • 60 Alan Scherstuhl
    Commercial filmmaking still fumbles interiority and moral complexity. So it’s fortunate for the filmmakers that Brierley's book also is thick with the kinds of things that crowdpleasers ace.
    • 45 Metascore
    • 60 Alan Scherstuhl
    The movie, directed by Charles Stone III — who gave us 2002's likable Drumline — runs hot and cold, suspenseful and well observed, well acted and often affecting, but somewhat tiresome and implausible by the end.
    • 56 Metascore
    • 60 Alan Scherstuhl
    In between Storks' bumptious best and worst are its uncertain quiet patches.
    • 44 Metascore
    • 60 Alan Scherstuhl
    The fights are quick and brutal and bloodless, with too much slo-mo and sped-up stuff, and some clever camera angles that get cut from before you can work out what you're looking at.
    • 51 Metascore
    • 60 Alan Scherstuhl
    The couplings have an artful intensity lacking in pornography, which favors athleticism and disconnectedness, and the lighting — well, the best thing in the movie is the look of it all, which in a tony sex-flick counts for a lot.
    • tbd Metascore
    • 60 Alan Scherstuhl
    The initial scenes, thick with creep-show ambiance, promise more fulfilling madness than what actually transpires once the out-of-nowhere second guest reveals who she is.
    • 62 Metascore
    • 60 Alan Scherstuhl
    For all its familiarity and rote nastiness, the film's sharply crafted and quite promising.
    • 43 Metascore
    • 60 Alan Scherstuhl
    The key relationships are well drawn, if not especially revealing of anything human, and director Fletcher sometimes dares some welcome absurdity. But if you've seen movies built from the same parts as this one, you'll likely find this too familiar—but energetic, well-acted, and distinguished by artfully artless chatter.
    • 58 Metascore
    • 60 Alan Scherstuhl
    Just as Pine's Bernie Webber grits his teeth and pilots his 36-foot Coast Guard boat into seas that rise up like angry gods, Gillespie steers head-on into clichés, powering through. They never quite capsize his film, but it does take on some water.
    • 54 Metascore
    • 60 Alan Scherstuhl
    The good news: Here's a lavish, serious science-fiction picture, one that on occasion transcends big-budget hit-making convention to glance against grandeur...Which brings us to Tom Cruise, the not-necessarily-good news. However engaging its end-times mysteries, Oblivion is still a Tom Cruise movie.
    • 53 Metascore
    • 60 Alan Scherstuhl
    The whole never makes much sense, and there's entirely too much screaming, but the directors stage the shocks with wicked aplomb.
    • 67 Metascore
    • 60 Alan Scherstuhl
    The crew's recollections and occasional demonstrations, on their instruments, are revealing and delightful, but the film itself could use more of their professionalism and chops; the editing's haphazard, and it's not always clear why one segment follows another.
    • 63 Metascore
    • 60 Alan Scherstuhl
    Field can't make it all make sense, but she does make it diverting, even pleasurable.
    • 45 Metascore
    • 60 Alan Scherstuhl
    Dylan Baker's film bests larger-budgeted fare like When the Game Stands Tall thanks to ace acting, a humble spirit, and all-around sturdy craftsmanship.
    • 64 Metascore
    • 60 Alan Scherstuhl
    The movie is fascinating in its approach to legal arguments, forensic evidence, and the uses and abuses of history — but, like the courtroom at its center, it doesn't have much feel for the feels.
    • tbd Metascore
    • 60 Alan Scherstuhl
    The photography is beautiful, the scenes of crowds and their signs arresting, and the interviews with individual protesters...are often inspiring.
    • 60 Metascore
    • 60 Alan Scherstuhl
    It works, kind of, despite its broadness, its obviousness, and its howlingly awful opening.

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