Alan Scherstuhl
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For 248 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 The Case Against 8
Lowest review score: 0 Saving Lincoln
Score distribution:
  1. Negative: 23 out of 248
248 movie reviews
    • 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.
    • 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.
    • 59 Metascore
    • 60 Alan Scherstuhl
    The whole thing has an amiable, gag-to-gag vibe for most of the first hour.
    • 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?
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 66 Metascore
    • 60 Alan Scherstuhl
    Some of the surprise works, but the final gotcha won't getcha.
    • 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
    The filmmakers have gotten extraordinary access to Mohamed and ravaged Somalia... But it's disappointing that they did not capture more scenes of Mohamed's wife and her family, who in the end are the ones who make the most momentous decision.
    • 54 Metascore
    • 60 Alan Scherstuhl
    For much of its running time, Camp X-Ray stands as the fullest on-screen imaginative treatment of two of the defining developments of the last 15 years of American life: the deployment of women in our volunteer army, and the indefinite detention of men we think, but can't quite prove, deserve it.
    • 45 Metascore
    • 60 Alan Scherstuhl
    Dylan Baker's film bests larger-budgeted fare like When the Game Stands Tall thanks to ace acting, a humble spirit, and all-around sturdy craftsmanship.
    • 62 Metascore
    • 60 Alan Scherstuhl
    For all its familiarity and rote nastiness, the film's sharply crafted and quite promising.
    • 38 Metascore
    • 60 Alan Scherstuhl
    All My Children's Brittany Allen proves herself a big-screen presence as the lead earthling; her commitment to each scene's emotional truth is all the more impressive considering that the schoolboyish Vicious Brothers introduce her character ass-first.
    • 57 Metascore
    • 60 Alan Scherstuhl
    The Mule proves a tough sit, but by the end you might be satisfied you gritted through it.
    • 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.
    • 31 Metascore
    • 60 Alan Scherstuhl
    The movie's not built for belief. It's built for dumb, shivery, sexed-up pleasure, and it delivers, albeit somewhat modestly.
    • 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.
    • 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.
    • 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.
    • 58 Metascore
    • 50 Alan Scherstuhl
    Letourneur captures film fests' buzz of self-congratulatory promiscuity but never makes the many parties and mishaps compelling.
    • 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.
    • 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.
    • 41 Metascore
    • 50 Alan Scherstuhl
    Sal
    A stubbornly not-bad character study.
    • 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.
    • 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.
    • 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.
    • 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.

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