Alan Scherstuhl

Select another critic »
For 655 reviews, this critic has graded:
  • 59% higher than the average critic
  • 3% same as the average critic
  • 38% lower than the average critic
On average, this critic grades 5.1 points higher than other critics. (0-100 point scale)

Alan Scherstuhl's Scores

  • Movies
  • TV
Average review score: 68
Highest review score: 100 Love & Friendship
Lowest review score: 0 Saving Lincoln
Score distribution:
  1. Negative: 42 out of 655
655 movie reviews
    • 60 Metascore
    • 80 Alan Scherstuhl
    At first the stakes are as light yet rich as Sentaro's pancakes; then come marvelous cine-essays on bean-soaking and paste-prepping, plus — in the film's tragedy-tinged final third — a change-of-seasons montage for the ages.
    • 72 Metascore
    • 80 Alan Scherstuhl
    The result is something like the best science-fair project ever, an inviting performance piece that tasks viewers with the pleasurable, imaginative engagement that more seamless special effects deny.
    • 86 Metascore
    • 100 Alan Scherstuhl
    Even the familiar elements of this particular family's drama are invested — through vigorous scripting, directing, and acting — with almost elemental power.
    • 65 Metascore
    • 70 Alan Scherstuhl
    The movie's not just good but moving, funny and true to the way people actually live in hard-times America.
    • tbd Metascore
    • 70 Alan Scherstuhl
    Can't-miss viewing for culture heads.
    • 63 Metascore
    • 60 Alan Scherstuhl
    Field can't make it all make sense, but she does make it diverting, even pleasurable.
    • 76 Metascore
    • 70 Alan Scherstuhl
    As a gamelike, simulationist PG-13 horror chamber piece, 10 Cloverfield Lane is a success: well shot and -staged, arrestingly acted, edited with a crisp unpredictability. It's less compelling in terms of character and meaning.
    • 67 Metascore
    • 70 Alan Scherstuhl
    As a look at geopolitics, the film is limited, but as a musical doc it's strong — and it's best as the movie to recommend old white Americans go see as a reminder that people everywhere remain people.
    • 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.
    • 52 Metascore
    • 40 Alan Scherstuhl
    The story isn't complex, but its telling is tangled, often willfully so.
    • 83 Metascore
    • 40 Alan Scherstuhl
    The Witch purports, at times, to confront ignorance and hysteria, but in the end, for horror thrills, Eggers's film sides with the preachers and executioners. It literalizes the fevered terrors of our God-mad ancestors — and then brags that it's all steeped in research.
    • 82 Metascore
    • 100 Alan Scherstuhl
    Colombian director Ciro Guerra's Embrace of the Serpent is a legitimate stunner, a river-trip that will mesmerize and jack with you, leaving you not quite certain, at its end, how to go about the rest of your day.
    • 81 Metascore
    • 100 Alan Scherstuhl
    Perhaps the best film yet set against the mess of the ongoing Middle Eastern wars, Tobias Lindholm's latest is a scrupulous, unglamorized examination of battlefield decision-making — and its potentially devastating impacts, both there and back home.
    • 62 Metascore
    • 70 Alan Scherstuhl
    With high spirits and great tenderness, Dalio and his actors stir up what might be the greatest of youthful feelings: that as you get to know someone new, someone whose thinking rhymes with yours, you're also becoming ever more yourself.
    • 65 Metascore
    • 70 Alan Scherstuhl
    Deadpool might even stand as one of the strongest and most inventive films of the high-early-late superhero baroque — if we could just turn off its built-in commentary track.
    • 77 Metascore
    • 90 Alan Scherstuhl
    It's squirrelly, surprising, and elusive, but this beaut of a debut is no curio.
    • 45 Metascore
    • 40 Alan Scherstuhl
    Call it parody, pastiche, remix, whatever — for some thirty minutes of its running time, Pride and Prejudice and Zombies transcends its goof of a premise to become something fresh and full-blooded.
    • 73 Metascore
    • 50 Alan Scherstuhl
    It's all well acted, especially the interrogations, and its specifics haunt and disturb. But as it aspires to parable it slumps into dark melodrama, with competing scenes of mob violence and individual characters freighted with so much allegoric significance that they stop feeling like people.
    • 82 Metascore
    • 100 Alan Scherstuhl
    The movie, wry and melancholy, doesn't linger over its artistry.
    • 58 Metascore
    • 60 Alan Scherstuhl
    Just as Pine's Bernie Webber grits his teeth and pilots his 36-foot Coast Guard boat into seas that rise up like angry gods, Gillespie steers head-on into clichés, powering through. They never quite capsize his film, but it does take on some water.
    • 66 Metascore
    • 50 Alan Scherstuhl
    The movie undercuts its own undercutting.
    • 65 Metascore
    • 70 Alan Scherstuhl
    It's no news that a filmmaker's debut is mostly 90 minutes of a couple kids gabbing on the streets of Brooklyn. But writer/director Jay Dockendorf's buoyant, tragic, richly textured walking-and-talking job Naz & Maalik exhibits none of the shambling narcissism that so often characterizes such projects.
    • 39 Metascore
    • 50 Alan Scherstuhl
    An admirably complex tale of time travel, corporate espionage, and high emotions you'll just have to take everyone's word on, Jacob Gentry's science fiction puzzler Synchronicity is so ambitious — and so canny, on occasion — that you might be willing to forgive its indie infelicities.
    • 41 Metascore
    • 30 Alan Scherstuhl
    Is Mojave's twisty purposelessness showing how producers ruin the work of screenwriters, or is it evidence that screenwriters often need another set of eyes?
    • 40 Metascore
    • 50 Alan Scherstuhl
    Sadly, The Benefactor proves less rich and engaging as it settles into its actual genre: It's yet another troubled-dude-starts-pulling-it-together tale.
    • 32 Metascore
    • 60 Alan Scherstuhl
    Like your smartphone, it's a testament to the theory of interchangeable parts, a perfectly engineered product that, if you're charitable, you might also think of in terms of art....But every time I started to believe that there's some parodic impulse behind the filmmakers' recasting of clichés, Cube's character would punch a suspect in custody or commit some other violation of civil liberties that the film invites us to cheer.
    • 65 Metascore
    • 70 Alan Scherstuhl
    The film is most illuminating on the prehistory of Land Art.
    • 71 Metascore
    • 80 Alan Scherstuhl
    This isn't hard-times reportage or a deep-dive ethnography. It's a life-as-it's-lived picture, a chance to meet and loiter with the people in the places the interstates zip past.
    • 59 Metascore
    • 70 Alan Scherstuhl
    Like Gia Coppola's Palo Alto (2013), a lyric and biting evocation of contemporary well-to-do teendom, Gabrielle Demeestere's Yosemite mines Franco's fiction for its most vital quality: his unsentimental depiction of youthful insecurity, this time among fifth-graders.
    • Village Voice
    • 42 Metascore
    • 50 Alan Scherstuhl
    The performers are all skilled enough to make something of this tired material.

Top Trailers