Alan Scherstuhl
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For 223 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 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 Elena
Lowest review score: 0 Saving Lincoln
Score distribution:
  1. Negative: 21 out of 223
223 movie reviews
    • 52 Metascore
    • 80 Alan Scherstuhl
    Director Richard LaGravenese, who also adapted the novel, lavishes the material with greater wit than its demographic demands, and the central love story feels warm-blooded—the air prickles between the leads.
    • 72 Metascore
    • 80 Alan Scherstuhl
    Despite its moral seriousness, the film's a crowd-pleaser, boasting tense set pieces, a raucous polyglot of voices and accents, beauty-in-poverty streetscapes, and two warm, brawling, big-hearted leads.
    • 70 Metascore
    • 80 Alan Scherstuhl
    The film is like his life: scabrous, upsetting, kind of moving, funny as hell, alive with hints of how we've become what we are.
    • 61 Metascore
    • 80 Alan Scherstuhl
    If you somehow manage to stay dry-eyed through the concert numbers, the end should set you bawling.
    • 67 Metascore
    • 80 Alan Scherstuhl
    The film is often beautiful and appealingly light. Every clear-eyed insight into why pushy people insist on pushing is matched by loose ensemble humor and lyric reveries.
    • 50 Metascore
    • 80 Alan Scherstuhl
    The funny stuff outweighs the cock-ups, and supporting performances from Stephen Merchant and Minnie Driver kick the movie toward something grander.
    • 42 Metascore
    • 80 Alan Scherstuhl
    The ending is a bit of an audience-pleasing cop-out, a retreat into formula after 80 minutes or so of upending it. But those upendings are memorable, the cast dishy fun, and Jerusha Hess and Shannon Hale's breeze of a script (based on Hale's novel) is smart about the allure of fictional romances.
    • 53 Metascore
    • 80 Alan Scherstuhl
    David M. Rosenthal's sturdy, nasty rural noir, based on Matthew F. Jones's novel, is so sharp and rusted through that, after taking it in, you'll likely need a tetanus shot.
    • 64 Metascore
    • 80 Alan Scherstuhl
    Dark Touch, like much of the best horror, works the fears that connect to real life.
    • 75 Metascore
    • 80 Alan Scherstuhl
    Greg "Freddy" Camalier's engaging new doc Muscle Shoals stands as a winning tribute to the coastal Alabama studio, musicians, and engineers who laid down some of the greatest pop tracks of the late '60s and early '70s.
    • 69 Metascore
    • 80 Alan Scherstuhl
    The movie is involving, the romance affecting, the sex sound, and the catch-as-catch-can handheld camerawork smartly appropriate for the scenario.
    • 77 Metascore
    • 80 Alan Scherstuhl
    For the most part, the narrative here feels generational, representative, rather than invested in the specific incidents of specific lives.
    • 77 Metascore
    • 80 Alan Scherstuhl
    Kudos to the filmmakers for so adeptly laying out the history of American evangelicals' Ugandan mission, and for noting that HIV infection rates there have gone up since the abstinence-only education started.
    • 53 Metascore
    • 80 Alan Scherstuhl
    This is squirmy, hilarious fun.
    • 60 Metascore
    • 80 Alan Scherstuhl
    Newell's film doesn't supplant Lean's, of course. The yearning is more vague, the gloom less consummate. But it's the best since, rich in feeling and dark beauty, alive with the superior scenecraft, chatter, and imagination of the most beloved of novelists.
    • 66 Metascore
    • 80 Alan Scherstuhl
    Sure, all the studios offer anymore are big, dumb adventure spectacles, but that's not a knock against the achievement of this one, which at least parades wonders before us, not the least being the greatest dragon in the history of movies.
    • 55 Metascore
    • 80 Alan Scherstuhl
    The film stirs richer, truer feelings once it becomes a one-man show. This is due both to Heisserer's and Walker's skill — the tension is strong, the scenario elemental, and Walker's harried, urgent hero is compelling — but also the fact that the movies are really good at dudes doing things, especially when those things are scrappy, desperate, and heroic.
    • 81 Metascore
    • 80 Alan Scherstuhl
    The kind of movie fans will be quoting for the rest of their lives, Shoot Me, from director-producer Chiemi Karasawa, is as much a playdate as portrait, a jumble of salty highlights attesting to the pleasure of her company.
    • 47 Metascore
    • 80 Alan Scherstuhl
    In Secret boasts vigor and thematic richness, that feeling of artists expressing something vital.
    • 64 Metascore
    • 80 Alan Scherstuhl
    The old footage — newsreels, scraps of home movies — is entrancing, and even those familiar details eventually accrete with the fresh ones into something grand and stirring, especially near the conclusion.
    • 47 Metascore
    • 80 Alan Scherstuhl
    Credit this spirited, uncommonly effective found-footage thriller for breaking the templates promised by its genre and title.
    • 68 Metascore
    • 80 Alan Scherstuhl
    The Double, with its inviting alienation, nails a curious mood that's been too long absent from contemporary film: the anxious admission that the world might be weighted against the plucky individual, and that prickling you feel just before such thoughts make a sweat break out.
    • 41 Metascore
    • 80 Alan Scherstuhl
    A restless, sunnily shot, one-thing-after-another travelogue of the peculiarities of American worship and belief.
    • 75 Metascore
    • 80 Alan Scherstuhl
    That patience of Reichardt's, and her dedication to showing us exclusively the things that we must see, makes the scenes of preparation — boat parking, fertilizer buying — hypnotic and suspenseful and practical all at once.
    • 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.
    • 73 Metascore
    • 80 Alan Scherstuhl
    A major achievement in sunny wretchedness, Álex de la Iglesia's splatter-comedy Witching & Bitching projectile pukes its outrages at you with a gusto recalling the early days of those (sadly) reformed upchuckers Sam Raimi and Peter Jackson.
    • 54 Metascore
    • 80 Alan Scherstuhl
    Eastwood may never show us his boys discovering themselves under that street lamp, but he gives us a clutch of moments worth treasuring — and mostly without overdoing it.
    • 78 Metascore
    • 80 Alan Scherstuhl
    There's much in Born to Fly to thrill to, dream with, flinch from: dancers leaping from a great whirling wheel and smacking onto mats far below; dancers ducking and leaping a wickedly spinning I-beam or cinderblock.
    • 57 Metascore
    • 80 Alan Scherstuhl
    A Walk Among the Tombstones is an uncommonly well-made thriller.
    • 76 Metascore
    • 80 Alan Scherstuhl
    It's part Live at Birdland, part Boy in the Plastic Bubble, all warmly thrilling.

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