Alan Scherstuhl

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For 331 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 Blind
Lowest review score: 0 Saving Lincoln
Score distribution:
  1. Negative: 29 out of 331
331 movie reviews
    • 67 Metascore
    • 70 Alan Scherstuhl
    This spiky, pushy, sometimes upsetting comedy finds Wiig creating something whole and alive out of her apparent contradictions.
    • 67 Metascore
    • 70 Alan Scherstuhl
    The doc is often terrific fun. But it is a work of observation and advocacy rather than journalism.
    • 58 Metascore
    • 70 Alan Scherstuhl
    The film's heady buzz is invigorating, and there are substantial pleasures—and laughs—to be found in all its real-life-just-gone-sour strangeness.
    • 68 Metascore
    • 70 Alan Scherstuhl
    The film has its insights, but perhaps its greatest value is in how it offers something of a record of what time with the talkative, tireless Hentoff is like.
    • 72 Metascore
    • 70 Alan Scherstuhl
    I like what I Am Big Bird is trying to do — I just wish it were a little less Bird-nice, and a little more Grouch-frank.
    • 68 Metascore
    • 70 Alan Scherstuhl
    The ending's a touch too cute, but the best scenes here stand as potent, empathetic, well-observed broadsides against fundamentalism.
    • 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.
    • 72 Metascore
    • 70 Alan Scherstuhl
    The photography fascinates even when the story flags, and the film bristles with small revelations.
    • 62 Metascore
    • 70 Alan Scherstuhl
    Informative and workmanlike, Antarctic Edge is more a bad-news rundown than one of the meditative masterpieces of the genre
    • 66 Metascore
    • 70 Alan Scherstuhl
    An often funny workplace hostage comedy that doesn't demand prior knowledge of the character.
    • 50 Metascore
    • 70 Alan Scherstuhl
    Misery Loves Comedy reveals artists adept at sounding out the darkest depths of our lives — and then transmuting what they find to laughter, a gift I bet sad young poets might ache for.
    • 65 Metascore
    • 70 Alan Scherstuhl
    Thorpe offers charming, intimate glimpses of his life, including memorable chats with friends and experts, and he's adept at drawing winning quotes from interview subjects — one of the most moving moments comes from George Takei.
    • 41 Metascore
    • 70 Alan Scherstuhl
    As in so many Hollywood spectacles, the message and medium are at hopeless odds... Still, the set-up is arresting, the domestic scenes well observed and acted, and the payoffs involving that Roomba toy excellent. Also, a late-film twist isn't a surprise, exactly, but it is delicious.
    • 54 Metascore
    • 70 Alan Scherstuhl
    The film is more an on-the-fly glimpse of the scene than a deep-dive exploration, but that doesn't make it any less electric.
    • 34 Metascore
    • 70 Alan Scherstuhl
    The pained, textured performances of Sevigny and Malone enrich their scenes, but when it ranges away from its leads, The Wait can seem like an anthology of moments rather than a narrative whole, although those moments do accumulate into a mood of chilly, gently surreal isolation.
    • 40 Metascore
    • 70 Alan Scherstuhl
    The movie's a fascinating mess, grand and gaudy, often hilarious.
    • 41 Metascore
    • 70 Alan Scherstuhl
    The most welcome change is the tone. Wadlow has decided he's making a straight-up comedy, and he demonstrates a knack for it.
    • 69 Metascore
    • 70 Alan Scherstuhl
    Ascher sometimes indulges in jump scares, and there's one unconvincing burst of gore. At first, these horror techniques seemed to me a mistake, but his subjects themselves continually link their experiences to movies they've seen, especially Communion and A Nightmare on Elm Street.
    • 67 Metascore
    • 70 Alan Scherstuhl
    After going this far, both in raunchy bad-boyism and mock-apologetic love-us shamelessness, they've effectively blown up their own formula. That's not a bad thing. This is the end; now it's time to try for more.
    • 70 Metascore
    • 70 Alan Scherstuhl
    This material might be familiar to Frontline viewers and magazine readers, but Kenner's telling of the stories proves independently dramatic.
    • 62 Metascore
    • 70 Alan Scherstuhl
    Far from a film about sharks sharking and love not working out, this About Last Night revels in friendship, fidelity, and something too rarely seen in the movies today: the idea that being young and black in Los Angeles can be glorious.
    • 76 Metascore
    • 70 Alan Scherstuhl
    For all its heart and strong performances, there's little new here. Still, the ending is perfect, triumphant and heartbreaking all at once, demonstrating that Quemada-Diez gets the reality of U.S. life.
    • 46 Metascore
    • 70 Alan Scherstuhl
    It's just zombies versus an international research station on the wastes of the Red Planet, with all that such a premise promises.
    • tbd Metascore
    • 70 Alan Scherstuhl
    Strachwitz's enthusiasm — "This ain't no mouse music!" he's given to shouting — and a brace of choice anecdotes prove compelling on their own.
    • 68 Metascore
    • 70 Alan Scherstuhl
    Despite some cutesiness, the film’s a fascinating portrait of loneliness, of talent undirected toward purpose, of the mysteries of the mind.
    • 72 Metascore
    • 70 Alan Scherstuhl
    Bauder's film is a diagnosis of a system that is hopelessly sick and not being treated. Bring a stress ball to squish up as you watch.
    • tbd Metascore
    • 70 Alan Scherstuhl
    The film offers a solid précis, but it's a curious fact that a well-made doc like this is still only about half as informative or detailed as a long magazine article on the same subject might be.
    • 50 Metascore
    • 70 Alan Scherstuhl
    The battles, occurring every fifteen minutes or so, are brisk and bloody, but in them Northmen leaps too quickly from image to image, sometimes not giving us time to make sense of the mayhem. But the chases, and the Jacksonian sense of an epic journey across a time-lost landscape, will please devotees of the genre, and the flourishes are grand.
    • 72 Metascore
    • 70 Alan Scherstuhl
    With sharper on-the-ground footage, True Son might have been as sharp a doc as it is inspiring a story.
    • 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.

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