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 Evolution of a Criminal
Lowest review score: 0 Saving Lincoln
Score distribution:
  1. Negative: 21 out of 223
223 movie reviews
    • 54 Metascore
    • 60 Alan Scherstuhl
    The Mule proves a tough sit, but by the end you might be satisfied you gritted through it.
    • 44 Metascore
    • 50 Alan Scherstuhl
    The film's biggest surprise is that, after Wonderstone loses everything, we're expected to feel something besides impatience as he learns to become a better person—and gapes like a child at the wonder of magic.
    • 35 Metascore
    • 50 Alan Scherstuhl
    As with the Twilight series, The Host's infelicities—drab dialogue, ridiculous plotting, more emotional crises than there is story—are enlivened by its thematic eccentricities.
    • 64 Metascore
    • 50 Alan Scherstuhl
    Disconnect might play better a decade from now, when it's more clearly a compendium of contemporary fears rather than some dire expression of them.
    • 58 Metascore
    • 50 Alan Scherstuhl
    Letourneur captures film fests' buzz of self-congratulatory promiscuity but never makes the many parties and mishaps compelling.
    • 68 Metascore
    • 50 Alan Scherstuhl
    The Conjuring's problem, beyond its lack of a conjuring, is how its otherworldly hokum is stubbornly of this world.
    • 35 Metascore
    • 50 Alan Scherstuhl
    There's something to be said for fiction that, in its form, dares to resemble life as it's lived. Our minor failings and chemical imbalances certainly shape our stories. This troubled yet promising debut gets that much right.
    • 41 Metascore
    • 50 Alan Scherstuhl
    Sal
    A stubbornly not-bad character study.
    • 68 Metascore
    • 50 Alan Scherstuhl
    Too much of the movie feels like notes toward a portrait rather than the portrait itself, and Mock's failure to nail down the Thomas case drains the power from the victory-lap scenes of Hill addressing adoring crowds.
    • 47 Metascore
    • 50 Alan Scherstuhl
    Unlike many of the features targeted to what Hollywood is calling the "faith audience," the movie is well-acted and shot, often thoughtful and (intentionally) funny.
    • 53 Metascore
    • 50 Alan Scherstuhl
    Never a disaster but only fitfully inspired, The Amazing Spider-Man 2 doesn't quite end well, but it does end promisingly.
    • 42 Metascore
    • 50 Alan Scherstuhl
    Egoyan musters some of the power he brought to The Sweet Hereafter, another lost-children tale, but little of the lyric beauty or sense of a community coming unglued.
    • 56 Metascore
    • 50 Alan Scherstuhl
    If the filmmakers had been more daring with perspectives and narrative structure, and afforded their Indian characters the screentime and agency JB enjoys on his adventure, Million Dollar Arm might have distinguished itself.
    • 62 Metascore
    • 50 Alan Scherstuhl
    All that prickly inner conflict Ruffalo is so adept at suggesting? Cheery Begin Again wants none of it, offering instead lots of scenes of two characters we don't believe could ever exist arguing about authenticity in pop music.
    • 52 Metascore
    • 50 Alan Scherstuhl
    Every time a story thread seems to be getting somewhere, Winter in the Blood vaults to something else, with little regard for the tale’s rhythms — the movie doesn’t feel like a puzzle to solve; it’s a puzzle to assemble.
    • 60 Metascore
    • 50 Alan Scherstuhl
    The comedy's too broad to take the characters seriously, and the vibe is breezily aimless, a mistake in a story about anxious waiting.
    • 47 Metascore
    • 50 Alan Scherstuhl
    In his second feature, McCarthy shows he's mastered the things we already know scare us onscreen; next, how about something we don't expect?
    • 49 Metascore
    • 50 Alan Scherstuhl
    Sympathetic audiences may be diverted by Space Station 76's period design and skilled performances, and by the mystery of what exactly the filmmakers are going for. (The less sympathetic may just ask what the point is.)
    • 64 Metascore
    • 50 Alan Scherstuhl
    Some moments still work after the movie grows mawkish.
    • 52 Metascore
    • 40 Alan Scherstuhl
    Christopher Felver's stumbling hagiography Ferlinghetti: A Rebirth of Wonder does no wrong by its celebrated subject-- but it never illuminates him, either.
    • 40 Metascore
    • 40 Alan Scherstuhl
    Well-shot and sometimes briefly affecting, especially when Mortimer is given a scene that lasts longer then thirty seconds, the film moves too quickly for its many incidents to have much impact, and what limited power it builds is dissipated by mortifying narration.
    • 62 Metascore
    • 40 Alan Scherstuhl
    42
    The movie sugars up Robinson's story, and like too many period pieces it summons some vague idea of a warmer, simpler past by bathing everything in thick amber light, as if each scene is one of those preserved mosquitoes that begat the monsters of Jurassic Park.
    • 24 Metascore
    • 40 Alan Scherstuhl
    An hour of these repetitive, predictable disasters should wear down all but the most bailout-hating viewers.
    • 56 Metascore
    • 40 Alan Scherstuhl
    The doc is only about as revealing as a middling magazine article on the subject.
    • 68 Metascore
    • 40 Alan Scherstuhl
    Simply put, the care and thoughtfulness that goes into footage-faking has not been applied to the film's script or structure.
    • 64 Metascore
    • 40 Alan Scherstuhl
    The more typical approach transforms the material, and not for the better—rather than a revelation about how it feels to live her life, this feels like a document of what that life might look like as a conventional, often pokey movie.
    • 49 Metascore
    • 40 Alan Scherstuhl
    The issues at play here are fascinating, but Condon and Singer never let any argument about journalism or the philosophy of free information last longer than a couple ping-ponged lines between master (Assange) and student (Domscheit-Berg).
    • 35 Metascore
    • 40 Alan Scherstuhl
    Segal's gearbox gets jammed between recession-era sports drama and brainless comedy, especially as Hart hollers pop-culture punch lines like he's the squirrel sidekick in a CGI kiddo flick.
    • 42 Metascore
    • 40 Alan Scherstuhl
    Swanberg has made an inspiring career out of rejecting the aesthetic crimes of Hollywood. It's dispiriting, then, that he so doggedly indulges in its tradition of male gazing.
    • 53 Metascore
    • 40 Alan Scherstuhl
    The persuasive power of individual moments suggests that director William Eubank has a bright future — and could push himself harder when writing his scripts.

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