Alan Scherstuhl

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For 522 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 6 points higher than other critics. (0-100 point scale)

Alan Scherstuhl's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 Girlhood
Lowest review score: 0 The Red Pill
Score distribution:
  1. Negative: 40 out of 522
522 movie reviews
    • 71 Metascore
    • 90 Alan Scherstuhl
    Marczak has captured the specifics of these young folks as they reel through a city that’s been born again, but the film should stir something true in the chest of anyone who ever was lucky enough to run free in their youth, even if only for a night.
    • 74 Metascore
    • 90 Alan Scherstuhl
    What's singular here isn't that the stars are playing brother and sister, or that they stir such sublime and anxious joy from each other. It's that the real love story isn't even between the damaged-but-lovable characters. It's between two profoundly depressed people and life itself.
    • 72 Metascore
    • 90 Alan Scherstuhl
    He may not be likable, but he remains fascinating. The film is on firm ground when examining Knievel's actual measurable impact: the action/extreme sports that have flourished since his retirement.
    • 77 Metascore
    • 90 Alan Scherstuhl
    Dencik’s gorgeous, surprising, meditative film opens up one of the world’s last unknown places, and it will also make you want to befriend every Dane you can.
    • 74 Metascore
    • 90 Alan Scherstuhl
    Caucus is a lively, hilarious, upsetting crash-course in recent history. It's also revelatory at times, especially as it reframes infamous sound bites in their of-the-moment context.
    • 55 Metascore
    • 90 Alan Scherstuhl
    Michael Winterbottom's wise and involving Everyday specializes in unscripted-feeling moments that ache of life.
    • 68 Metascore
    • 90 Alan Scherstuhl
    The final, moving, nerve-wracking reels are all sea, sky, and desperation.
    • 76 Metascore
    • 90 Alan Scherstuhl
    It's always political when regular people speak plainly about their circumstances — here, it's also moving, revelatory, and often funny, offering plenty to mull over during the long shots of train workers trundling their food carts.
    • 81 Metascore
    • 90 Alan Scherstuhl
    It's a work of community portraiture that slowly develops into collective drama
    • 75 Metascore
    • 90 Alan Scherstuhl
    Cooper's interest is in the collaboration between the talent and its managers, in the way the duo urged their charges to begin to conceive of their sound, look, marketing, and live performances as all expressive of a singular vision.
    • 76 Metascore
    • 90 Alan Scherstuhl
    Whiskery and restless, grooving and grotesque, the documentarian Les Blank's long-suppressed film A Poem Is a Naked Person plays like your memories of some mad, stoned last-century summer.
    • 62 Metascore
    • 90 Alan Scherstuhl
    The film is fascinating, even if you're resistant to this dark star's gravity.
    • 74 Metascore
    • 90 Alan Scherstuhl
    A spare and ravishing doc.
    • 69 Metascore
    • 90 Alan Scherstuhl
    The Seven Five makes for a fascinating character study, but the doc's drama is also compelling.
    • 75 Metascore
    • 90 Alan Scherstuhl
    As a whole, Martha Shane and Lana Wilson's wrenching, humane film is as convincing a brief as I can imagine in favor of that most controversial of all pregnancy-terminating procedures.
    • 77 Metascore
    • 90 Alan Scherstuhl
    With extraordinary access, Pahuja illuminates extraordinary conflicts and contradictions facing modern girls in a country even less ready for them than ours.
    • 65 Metascore
    • 90 Alan Scherstuhl
    The film is novel-rich, so bristling with life that you might not notice how familiar it is in its contours.
    • 73 Metascore
    • 90 Alan Scherstuhl
    Co-writer/director/proudly nude star Amalric cuts everything to the quick: Most shots have the feel of still photos, the camera firmly planted, and the movie always hustles us to the next, back and forward in time, the effect part Resnais and part staccato Kodak slideshow.
    • 82 Metascore
    • 90 Alan Scherstuhl
    This marvelous, mostly animated doc/drama hybrid couldn't have come along at a better time.
    • 77 Metascore
    • 90 Alan Scherstuhl
    It's squirrelly, surprising, and elusive, but this beaut of a debut is no curio.
    • 76 Metascore
    • 90 Alan Scherstuhl
    The key question is whether this procedural—as in, here we watch killers proceed—contributes to any greater understanding. I believe it does.
    • 75 Metascore
    • 90 Alan Scherstuhl
    The documentary is stellar, despite some vague visual-metaphor stuff involving dioramas in an attic. Bring something you can punch, as you will be furious.
    • 76 Metascore
    • 90 Alan Scherstuhl
    Nothing in this film (and little in any other movie this year) compares to the scenes of Sandusky's adopted son, Matt, recounting his realization that the charges of pedophilia against Sandusky squared with the ways Sandusky had treated him, too — treatment he'd never been brave enough to admit.
    • 77 Metascore
    • 90 Alan Scherstuhl
    The film is a wonder of desert skies, slick tunnels, bumptious fence- and wall-climbing, and occasional staged reveries.
    • 67 Metascore
    • 90 Alan Scherstuhl
    Goldfine and Geller pace and structure The Galapagos Affair like the true-crime tale that it is, its mysteries rich and involving, its characters enduring in the imagination long after the film has ended.
    • 75 Metascore
    • 90 Alan Scherstuhl
    Garbus's film is a portrait of a soul torn apart by forces beyond it and within it.
    • 73 Metascore
    • 90 Alan Scherstuhl
    The performances are strong, the imaginary visions are suggestive and fleeting, and the film as a whole is swoony, tender, skittish, a little scary — in short, this is what young love feels like. More Meyerhoff, please!
    • 74 Metascore
    • 90 Alan Scherstuhl
    The Attack is most avowedly "about" terrorism. But that's a subject, not the subject. The film, an arresting and upsetting one, is also about love, trauma, and trust, both within one particular marriage and within entire cultures.
    • 72 Metascore
    • 90 Alan Scherstuhl
    Its central journey lives up to the title: Maclean finds time to savor rivers and starscapes and layers of light and mountainous land. The dialogue is flighty yet weighty, each line like some delicate woodcut.

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