Alan Scherstuhl
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For 194 reviews, this critic has graded:
  • 61% higher than the average critic
  • 3% same as the average critic
  • 36% lower than the average critic
On average, this critic grades 6.9 points higher than other critics. (0-100 point scale)

Alan Scherstuhl's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Is the Man Who Is Tall Happy?
Lowest review score: 0 Saving Lincoln
Score distribution:
  1. Negative: 19 out of 194
194 movie reviews
    • 56 Metascore
    • 60 Alan Scherstuhl
    Even if you've read the novel, and are prepared for the long running time and haphazard structure, this isn't a movie you should expect to feel or even closely follow. See it if Midnight's Children is a novel you always wanted the gist of.
    • 39 Metascore
    • 60 Alan Scherstuhl
    Anderson distinguishes himself as the rare action director who shows us real bodies in real space in real reaction to each other, who prizes legibility over quick-cut dazzlement, who stages his fights with comic-book zeal rather than puffed-up graphic-novel miserableness.
    • 43 Metascore
    • 60 Alan Scherstuhl
    The key relationships are well drawn, if not especially revealing of anything human, and director Fletcher sometimes dares some welcome absurdity. But if you've seen movies built from the same parts as this one, you'll likely find this too familiar—but energetic, well-acted, and distinguished by artfully artless chatter.
    • 48 Metascore
    • 60 Alan Scherstuhl
    A final twist stamps this as a companion or corrective to The Shape of Things, this time with the man as the monster. This isn't as bracing as that film, but it's far from the horror show LaBute's detractors often accuse him of writing.
    • 59 Metascore
    • 60 Alan Scherstuhl
    It's heartening to have a tony war film about PTSD and forgiveness; it would be grander still to have one that dedicated itself more fully to examining the courage it would take to offer that forgiveness, rather than dash its energies upon the dreary cowardice of the crime itself.
    • 81 Metascore
    • 60 Alan Scherstuhl
    What director Knight excels at is continually inventive framing and composition, at suggesting, through layers of window and reflected traffic, the mental state of Locke, the hero.
    • 59 Metascore
    • 60 Alan Scherstuhl
    It's not bad, but it feels rote, as if the film's events are just an excuse for us to hang with the film's people.
    • 64 Metascore
    • 60 Alan Scherstuhl
    Once it gets going, it's fine, a somewhat scattered précis of the life and accomplishment of one of the 20th century's towering musicians, activists, and curiosities.
    • 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.
    • 65 Metascore
    • 60 Alan Scherstuhl
    Some of the surprise works, but the final gotcha won't getcha.
    • 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.
    • 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.
    • 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.
    • 49 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?
    • 62 Metascore
    • 40 Alan Scherstuhl
    42
    The movie sugars up Robinson's story, and like too many period pieces it summons some vague idea of a warmer, simpler past by bathing everything in thick amber light, as if each scene is one of those preserved mosquitoes that begat the monsters of Jurassic Park.