Alan Scherstuhl
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For 289 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 7.6 points higher than other critics. (0-100 point scale)

Alan Scherstuhl's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 Tip Top
Lowest review score: 0 Saving Lincoln
Score distribution:
  1. Negative: 25 out of 289
289 movie reviews
    • 69 Metascore
    • 80 Alan Scherstuhl
    The movie is involving, the romance affecting, the sex sound, and the catch-as-catch-can handheld camerawork smartly appropriate for the scenario.
    • 77 Metascore
    • 80 Alan Scherstuhl
    For the most part, the narrative here feels generational, representative, rather than invested in the specific incidents of specific lives.
    • 77 Metascore
    • 80 Alan Scherstuhl
    Kudos to the filmmakers for so adeptly laying out the history of American evangelicals' Ugandan mission, and for noting that HIV infection rates there have gone up since the abstinence-only education started.
    • 53 Metascore
    • 80 Alan Scherstuhl
    This is squirmy, hilarious fun.
    • 60 Metascore
    • 80 Alan Scherstuhl
    Newell's film doesn't supplant Lean's, of course. The yearning is more vague, the gloom less consummate. But it's the best since, rich in feeling and dark beauty, alive with the superior scenecraft, chatter, and imagination of the most beloved of novelists.
    • 66 Metascore
    • 80 Alan Scherstuhl
    Sure, all the studios offer anymore are big, dumb adventure spectacles, but that's not a knock against the achievement of this one, which at least parades wonders before us, not the least being the greatest dragon in the history of movies.
    • 55 Metascore
    • 80 Alan Scherstuhl
    The film stirs richer, truer feelings once it becomes a one-man show. This is due both to Heisserer's and Walker's skill — the tension is strong, the scenario elemental, and Walker's harried, urgent hero is compelling — but also the fact that the movies are really good at dudes doing things, especially when those things are scrappy, desperate, and heroic.
    • 81 Metascore
    • 80 Alan Scherstuhl
    The kind of movie fans will be quoting for the rest of their lives, Shoot Me, from director-producer Chiemi Karasawa, is as much a playdate as portrait, a jumble of salty highlights attesting to the pleasure of her company.
    • 47 Metascore
    • 80 Alan Scherstuhl
    In Secret boasts vigor and thematic richness, that feeling of artists expressing something vital.
    • 64 Metascore
    • 80 Alan Scherstuhl
    The old footage — newsreels, scraps of home movies — is entrancing, and even those familiar details eventually accrete with the fresh ones into something grand and stirring, especially near the conclusion.
    • 47 Metascore
    • 80 Alan Scherstuhl
    Credit this spirited, uncommonly effective found-footage thriller for breaking the templates promised by its genre and title.
    • 68 Metascore
    • 80 Alan Scherstuhl
    The Double, with its inviting alienation, nails a curious mood that's been too long absent from contemporary film: the anxious admission that the world might be weighted against the plucky individual, and that prickling you feel just before such thoughts make a sweat break out.
    • 41 Metascore
    • 80 Alan Scherstuhl
    A restless, sunnily shot, one-thing-after-another travelogue of the peculiarities of American worship and belief.
    • 75 Metascore
    • 80 Alan Scherstuhl
    That patience of Reichardt's, and her dedication to showing us exclusively the things that we must see, makes the scenes of preparation — boat parking, fertilizer buying — hypnotic and suspenseful and practical all at once.
    • 83 Metascore
    • 80 Alan Scherstuhl
    For all the hurtling plot, and its occasional workaday scenecraft, Burning Bush proves an engrossing historical drama, low-key but in its final moments devastating.
    • 73 Metascore
    • 80 Alan Scherstuhl
    A major achievement in sunny wretchedness, Álex de la Iglesia's splatter-comedy Witching & Bitching projectile pukes its outrages at you with a gusto recalling the early days of those (sadly) reformed upchuckers Sam Raimi and Peter Jackson.
    • 54 Metascore
    • 80 Alan Scherstuhl
    Eastwood may never show us his boys discovering themselves under that street lamp, but he gives us a clutch of moments worth treasuring — and mostly without overdoing it.
    • 74 Metascore
    • 80 Alan Scherstuhl
    The early scenes, of the couple falling for each other, offer more inspired gorgeous wonder than late Malick films, and the emotions are more piercing.
    • 78 Metascore
    • 80 Alan Scherstuhl
    There's much in Born to Fly to thrill to, dream with, flinch from: dancers leaping from a great whirling wheel and smacking onto mats far below; dancers ducking and leaping a wickedly spinning I-beam or cinderblock.
    • 57 Metascore
    • 80 Alan Scherstuhl
    A Walk Among the Tombstones is an uncommonly well-made thriller.
    • 77 Metascore
    • 80 Alan Scherstuhl
    It's part Live at Birdland, part Boy in the Plastic Bubble, all warmly thrilling.
    • 88 Metascore
    • 80 Alan Scherstuhl
    Poitras shows us history as it happens, scenes of such intimate momentousness that the movie's a must-see piece of work even if, in its totality, it's underwhelming as argument or cinema.
    • 77 Metascore
    • 80 Alan Scherstuhl
    The scale of the occasional mayhem is heightened, but its spirit and ingenuity doesn't feel wholly at odds with the books.
    • 58 Metascore
    • 80 Alan Scherstuhl
    Writer-director Sean Mullin gives us some of the usual beats, but he and his performers invest them with rare persuasive power.
    • 60 Metascore
    • 80 Alan Scherstuhl
    From moment to moment, this Last Five Years is a robust entertainment, often stirring, sad, and funny.
    • 74 Metascore
    • 80 Alan Scherstuhl
    Of Horses and Men is often sprightly, and almost every shot is an eyeful.
    • 65 Metascore
    • 80 Alan Scherstuhl
    It's not news, of course, that it's a terrible thing to extinguish a life, but it's a relief, when the shoot-'em-ups of Summer Movie Season are bearing down on us, to see a film that regards killing with pained awe. Wladyka's hands are clean.
    • 59 Metascore
    • 80 Alan Scherstuhl
    Director Levan Gabriadze is adept at the sinking something's not right creepiness too few horror films dig into. His techniques are certain to be copy-pasted by imitators.
    • 73 Metascore
    • 80 Alan Scherstuhl
    What makes Güeros fascinating, besides the joyous invention of Ruizpalacios's craft, is how the director emphasizes rather than hides his own authorial engagement.
    • 59 Metascore
    • 80 Alan Scherstuhl
    Fontaine handles the assignations with sympathetic shorthand — we see what Martin sees, but we see more, too, enough to understand that Gemma's dalliances are vital to her but not overwhelming. She has a handle on them.

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