Alan Scherstuhl

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For 501 reviews, this critic has graded:
  • 61% higher than the average critic
  • 2% same as the average critic
  • 37% lower than the average critic
On average, this critic grades 6.2 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 The Red Pill
Score distribution:
  1. Negative: 39 out of 501
501 movie reviews
    • 72 Metascore
    • 90 Alan Scherstuhl
    Part of what makes writer-director Rick Famuyiwa's Dope so fresh and joyous is that in many key ways it's not new at all.
    • 82 Metascore
    • 90 Alan Scherstuhl
    Director James Ponsoldt gives us long, loose, single-shot courtship scenes, each a marvel of staging and performance.
    • 65 Metascore
    • 90 Alan Scherstuhl
    The directors plant a camera in front of Roth and get him talking. To smooth over edits, they show us book covers and old photos—Roth was dashing, charming, a little dangerous, one of his college friends tells us, but she doesn't need to say it. It's manifest, and it's still true. The film is especially recommended to anyone who thinks they hate him.
    • 68 Metascore
    • 90 Alan Scherstuhl
    Schimberg, in this debut, demonstrates rare assuredness in shooting and staging scenes, coaxing unexpected but true-feeling flourishes from his cast of mostly amateurs blessed with extraordinary faces.
    • 57 Metascore
    • 90 Alan Scherstuhl
    Tender, humane, and searing, How I Live Now stands as something all too rare: a movie about young people that young people may love — but not one that lies to them, and not one built for them alone.
    • 76 Metascore
    • 90 Alan Scherstuhl
    It's a tough film to shake, a slice-of-life that slices, knifelike. It's a funny drama of brothers that first makes you hate its prickly leads but then, after steeping you in their bottomed-out day-to-day, might inspire you to hope for them.
    • 71 Metascore
    • 80 Alan Scherstuhl
    Skipping across ages and genres, this cine-essay beguilement from Russian Ark director Alexander Sokurov considers the Louvre — and the miracle of the transmission of art and culture across its history.
    • 83 Metascore
    • 80 Alan Scherstuhl
    Allah, a street photographer of deserved renown, has achieved something here beyond the familiar documentary impulse to show us the people who live on the streets. His immersive, unsettling techniques dig at a sense of what it might feel like to be among them.
    • 74 Metascore
    • 80 Alan Scherstuhl
    The early scenes, of the couple falling for each other, offer more inspired gorgeous wonder than late Malick films, and the emotions are more piercing.
    • 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.
    • 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.
    • 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.
    • 80 Metascore
    • 80 Alan Scherstuhl
    Moments of pain and revelation keep coming, all varied and surprising. These accrete into a mountain of evidence for Sauper's thesis: South Sudan might be new, but the forces shaping it are the same that have damned Africans for centuries — the rest of the world's lust for resources and conversions. That everything is beautiful just makes it hurt all the more.
    • 84 Metascore
    • 80 Alan Scherstuhl
    Finlay tells this story with the usual doc techniques. The interviews are marvelous, especially the ones with Ellis's exes, who attest not just to his weakness for groupies but to his collection of trophies.
    • 59 Metascore
    • 80 Alan Scherstuhl
    Director Levan Gabriadze is adept at the sinking something's not right creepiness too few horror films dig into. His techniques are certain to be copy-pasted by imitators.
    • 75 Metascore
    • 80 Alan Scherstuhl
    The usual doc mix of interviews and vintage photos is moving and surprisingly funny.
    • 78 Metascore
    • 80 Alan Scherstuhl
    The Last Man on the Moon puts you there and then asks why in the world we haven't gone back.
    • 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.
    • 64 Metascore
    • 80 Alan Scherstuhl
    Will Allen's sunny gut-punch cult exposé Holy Hell plays like a thriller, all right, with a darkness edging slowly over its swimsuit revelry, but Allen never cheats in the interest of suspense.
    • 53 Metascore
    • 80 Alan Scherstuhl
    This is squirmy, hilarious fun.
    • 79 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.
    • 75 Metascore
    • 80 Alan Scherstuhl
    Life,Animated is rich with insight about the role our popular culture plays in child development, but it's richer still in love.
    • 72 Metascore
    • 80 Alan Scherstuhl
    Everyone's reeling from dreads and reveries they can't quite comprehend, and Zulawski's daft incidents, comic sketches, and stabs of profundity will likely put you into a similar awed stupor.
    • 67 Metascore
    • 80 Alan Scherstuhl
    The film is an adventure, a reason to despair, a chance to hang out with a great talker, and an often beautiful portrait of this city's promise and cruelty.
    • 74 Metascore
    • 80 Alan Scherstuhl
    In short, Zexer's film — scraped of sentiment but still coursing with feeling — is an ethnographic melodrama, rich in cultural specifics but also universal longings.
    • 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.
    • 71 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.
    • 47 Metascore
    • 80 Alan Scherstuhl
    In Secret boasts vigor and thematic richness, that feeling of artists expressing something vital.
    • 65 Metascore
    • 80 Alan Scherstuhl
    It's not news, of course, that it's a terrible thing to extinguish a life, but it's a relief, when the shoot-'em-ups of Summer Movie Season are bearing down on us, to see a film that regards killing with pained awe. Wladyka's hands are clean.
    • 61 Metascore
    • 80 Alan Scherstuhl
    If you somehow manage to stay dry-eyed through the concert numbers, the end should set you bawling.

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