Alan Scherstuhl
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For 235 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 7.8 points higher than other critics. (0-100 point scale)

Alan Scherstuhl's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 Gideon's Army
Lowest review score: 0 Saving Lincoln
Score distribution:
  1. Negative: 22 out of 235
235 movie reviews
    • 54 Metascore
    • 60 Alan Scherstuhl
    For much of its running time, Camp X-Ray stands as the fullest on-screen imaginative treatment of two of the defining developments of the last 15 years of American life: the deployment of women in our volunteer army, and the indefinite detention of men we think, but can't quite prove, deserve it.
    • 64 Metascore
    • 60 Alan Scherstuhl
    Katz stages the contests with infectious energy... Too bad the last half hour feels like Katz is rubbing our face in the several turds he shows us, reminding us that people are awful. Of course they are. What else do you have to tell us?
    • 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.
    • 56 Metascore
    • 60 Alan Scherstuhl
    While mostly well made, and certain to serve as a handy précis for the J-school set, A Fragile Trust is more a soiling reminder than a revelation for anyone already familiar with Blair's case.
    • 66 Metascore
    • 60 Alan Scherstuhl
    Some of the surprise works, but the final gotcha won't getcha.
    • 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.
    • 61 Metascore
    • 60 Alan Scherstuhl
    The filmmakers have gotten extraordinary access to Mohamed and ravaged Somalia... But it's disappointing that they did not capture more scenes of Mohamed's wife and her family, who in the end are the ones who make the most momentous decision.
    • 62 Metascore
    • 60 Alan Scherstuhl
    For all its familiarity and rote nastiness, the film's sharply crafted and quite promising.
    • 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.
    • 57 Metascore
    • 60 Alan Scherstuhl
    The Mule proves a tough sit, but by the end you might be satisfied you gritted through it.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 71 Metascore
    • 50 Alan Scherstuhl
    Rob Marshall simply cuts from one tale to the next, isolating his actors. There's little sense that the fairytale space is a shared one -- it's just a bunch of noisy incident transpiring in unrelated treestands.
    • 58 Metascore
    • 50 Alan Scherstuhl
    Letourneur captures film fests' buzz of self-congratulatory promiscuity but never makes the many parties and mishaps compelling.
    • 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.
    • 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.
    • 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.
    • 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.
    • 41 Metascore
    • 50 Alan Scherstuhl
    Sal
    A stubbornly not-bad character study.
    • 64 Metascore
    • 50 Alan Scherstuhl
    Some moments still work after the movie grows mawkish.
    • 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.)
    • 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.
    • 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.
    • 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?
    • 70 Metascore
    • 50 Alan Scherstuhl
    Landscapes and lyric conundrums distinguish the first two-thirds of this find-your-own-meaning artflick, which unfurls like some stranger's life you're half reliving.

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