Alan Scherstuhl

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For 448 reviews, this critic has graded:
  • 62% higher than the average critic
  • 3% same as the average critic
  • 35% 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: 68
Highest review score: 100 Concerning Violence
Lowest review score: 0 Saving Lincoln
Score distribution:
  1. Negative: 34 out of 448
448 movie reviews
    • 62 Metascore
    • 90 Alan Scherstuhl
    The film is fascinating, even if you're resistant to this dark star's gravity.
    • 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!
    • 68 Metascore
    • 90 Alan Scherstuhl
    The film is brisk, brief, well acted, smartly crafted, and shrewdly judged.
    • 72 Metascore
    • 90 Alan Scherstuhl
    Part of what makes writer-director Rick Famuyiwa's Dope so fresh and joyous is that in many key ways it's not new at all.
    • 75 Metascore
    • 90 Alan Scherstuhl
    Garbus's film is a portrait of a soul torn apart by forces beyond it and within it.
    • 79 Metascore
    • 90 Alan Scherstuhl
    Granik, director of Winter's Bone, captures scenes of rare power.
    • 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.
    • 79 Metascore
    • 90 Alan Scherstuhl
    What surprises (a little) and fascinates (a lot) are the town-to-town commonalities Counting invites you to appraise.
    • 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.
    • 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.
    • 76 Metascore
    • 90 Alan Scherstuhl
    It's a tough film to shake, a slice-of-life that slices, knifelike. It's a funny drama of brothers that first makes you hate its prickly leads but then, after steeping you in their bottomed-out day-to-day, might inspire you to hope for them.
    • 75 Metascore
    • 90 Alan Scherstuhl
    Time Out of Mind is an experiment in empathy, an examination of bureaucracy and streetlife mundanity, and a movie that many will find a tough sit.
    • 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.
    • 55 Metascore
    • 90 Alan Scherstuhl
    The Visit, M. Night Shyamalan's witty, crowd-jolting spook-house of an eleventh feature, is its writer-director's best movie since the tail-end of the last Clinton era. And it's the best studio horror flick in recent years, combining the but-what's-in-those-shadows? immersion of The Conjuring, James Wan's basement-wandering simulator, with the crack scripting and meta-cinematic surprises of Shyamalan's best early films.
    • 83 Metascore
    • 90 Alan Scherstuhl
    Bykov's moral tale is clear-eyed and callused over, worrying not over individual lives but over a nation's soul.
    • 91 Metascore
    • 90 Alan Scherstuhl
    There's something wonderful in how these scenes, so breezy and funny, reveal so much.
    • 79 Metascore
    • 90 Alan Scherstuhl
    Winter on Fire's thrilling rebellion is neither the beginning nor the end, but it is at least a truly heartening middle.
    • 81 Metascore
    • 90 Alan Scherstuhl
    It's a work of community portraiture that slowly develops into collective drama
    • 71 Metascore
    • 90 Alan Scherstuhl
    This is a Macbeth to sink into and shrink from, not one to parse.
    • 76 Metascore
    • 90 Alan Scherstuhl
    If you can work up interest in such meager material, the film is a chilling, stirring, experiential immersion in what life-and-death drama might actually feel like.
    • 68 Metascore
    • 90 Alan Scherstuhl
    The film's chatty, ingratiating, and then howlingly mean.
    • 77 Metascore
    • 90 Alan Scherstuhl
    It's squirrelly, surprising, and elusive, but this beaut of a debut is no curio.
    • 81 Metascore
    • 90 Alan Scherstuhl
    [A] studious, rigorous, and surprisingly tender documentary.
    • 77 Metascore
    • 90 Alan Scherstuhl
    The film is a wonder of desert skies, slick tunnels, bumptious fence- and wall-climbing, and occasional staged reveries.
    • 82 Metascore
    • 90 Alan Scherstuhl
    This marvelous, mostly animated doc/drama hybrid couldn't have come along at a better time.
    • 72 Metascore
    • 90 Alan Scherstuhl
    This isn't a film about the Civil War; it's about the minds of white folks so removed from plantation life that they feel they have no stake in it at all. It's not about back then — it's about being.
    • 68 Metascore
    • 90 Alan Scherstuhl
    Israel's willingness to honor Frank's own vision powers the film.
    • 52 Metascore
    • 80 Alan Scherstuhl
    Director Richard LaGravenese, who also adapted the novel, lavishes the material with greater wit than its demographic demands, and the central love story feels warm-blooded—the air prickles between the leads.
    • 71 Metascore
    • 80 Alan Scherstuhl
    Despite its moral seriousness, the film's a crowd-pleaser, boasting tense set pieces, a raucous polyglot of voices and accents, beauty-in-poverty streetscapes, and two warm, brawling, big-hearted leads.
    • 70 Metascore
    • 80 Alan Scherstuhl
    The film is like his life: scabrous, upsetting, kind of moving, funny as hell, alive with hints of how we've become what we are.

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