Alan Scherstuhl
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For 235 reviews, this critic has graded:
  • 61% higher than the average critic
  • 2% same as the average critic
  • 37% lower than the average critic
On average, this critic grades 7.8 points higher than other critics. (0-100 point scale)

Alan Scherstuhl's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 Is the Man Who Is Tall Happy?
Lowest review score: 0 Saving Lincoln
Score distribution:
  1. Negative: 22 out of 235
235 movie reviews
    • 72 Metascore
    • 70 Alan Scherstuhl
    The film surges by, powered by high spirits, well-plotted surprises, and the directors' admirable attention to both the real and romantic.
    • 54 Metascore
    • 70 Alan Scherstuhl
    The film is more an on-the-fly glimpse of the scene than a deep-dive exploration, but that doesn't make it any less electric.
    • 68 Metascore
    • 70 Alan Scherstuhl
    The film has its insights, but perhaps its greatest value is in how it offers something of a record of what time with the talkative, tireless Hentoff is like.
    • 71 Metascore
    • 70 Alan Scherstuhl
    If you find other people worth your time and attention, Next Goal Wins will stir you.
    • 72 Metascore
    • 70 Alan Scherstuhl
    Bauder's film is a diagnosis of a system that is hopelessly sick and not being treated. Bring a stress ball to squish up as you watch.
    • 71 Metascore
    • 70 Alan Scherstuhl
    The photography fascinates even when the story flags, and the film bristles with small revelations.
    • 67 Metascore
    • 70 Alan Scherstuhl
    The doc is often terrific fun. But it is a work of observation and advocacy rather than journalism.
    • 68 Metascore
    • 70 Alan Scherstuhl
    Despite some cutesiness, the film’s a fascinating portrait of loneliness, of talent undirected toward purpose, of the mysteries of the mind.
    • 55 Metascore
    • 70 Alan Scherstuhl
    Any 30 minutes of Summer of Blood might have me in hysterics. But the sputtering torrent of Eric's yakking proves wearying over 90: Dude's built for speed-dating.
    • 72 Metascore
    • 70 Alan Scherstuhl
    With sharper on-the-ground footage, True Son might have been as sharp a doc as it is inspiring a story.
    • 52 Metascore
    • 70 Alan Scherstuhl
    Haupt persuades viewers to surrender to a place, to a vision, and to a scale of thinking beyond our own lives.
    • 65 Metascore
    • 60 Alan Scherstuhl
    Monsters University feels not like the work of artists eager to express something but like that of likable pros whose existence depends on getting a rise out the kids. It's like the scares Sully and Mike spring on those sleeping tykes: technically impressive but a job un-anchored to anything more meaningful.
    • 54 Metascore
    • 60 Alan Scherstuhl
    The good news: Here's a lavish, serious science-fiction picture, one that on occasion transcends big-budget hit-making convention to glance against grandeur...Which brings us to Tom Cruise, the not-necessarily-good news. However engaging its end-times mysteries, Oblivion is still a Tom Cruise movie.
    • 59 Metascore
    • 60 Alan Scherstuhl
    The whole thing has an amiable, gag-to-gag vibe for most of the first hour.
    • 52 Metascore
    • 60 Alan Scherstuhl
    Often, the hilarity is indisputably intentional. If you think you'll laugh and clap, try it; if you know you'll hate it, you're right.
    • 57 Metascore
    • 60 Alan Scherstuhl
    Fuqua steadily parades his big moments, and the movie works as unhinged spectacle. As a thriller it's less certain.
    • 61 Metascore
    • 60 Alan Scherstuhl
    Like first sex, writer-director Maggie Carey's debut feature, The To Do List, is quick and messy, fitfully pleasurable, full of promise but not quite adept at getting everyone off.
    • 59 Metascore
    • 60 Alan Scherstuhl
    The longer versions of all Jackson's Middle-earth films have played better (and made more sense) than their theatrical cuts, but this time he's trimmed out something absolutely vital, the one element that, besides his mad gore-minded grandiloquence, has kept everything together five films running: an attention to the emotional lives of his hobbits.
    • 46 Metascore
    • 60 Alan Scherstuhl
    The story and its violence are deeply silly, but there's something nervy and upsetting that distinguishes the film's incidental excitement.
    • 76 Metascore
    • 60 Alan Scherstuhl
    Mud
    It's too bad...that a movie so attuned to natural currents in the end gets caught up in Hollywood's impossible ones.
    • 74 Metascore
    • 60 Alan Scherstuhl
    The film is admirably committed to simulating the messy experience of life as a real Maisie might live it. But sometimes, as she's tuckered out on her exquisite linens beneath gorgeous exposed brick and shelves of handcrafted toys, Maisie's world feels easier to admire than it is to worry over.
    • 67 Metascore
    • 60 Alan Scherstuhl
    For all its stellar nature photography, its low hum of suspense, and Gedeck's raw and affecting performance, the film often feels like an illustrated audiobook rather than narrative drama.
    • 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.

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