Andrew Schenker

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For 196 reviews, this critic has graded:
  • 21% higher than the average critic
  • 4% same as the average critic
  • 75% lower than the average critic
On average, this critic grades 11.7 points lower than other critics. (0-100 point scale)

Andrew Schenker's Scores

  • Movies
  • TV
Average review score: 50
Highest review score: 100 Stray Dogs
Lowest review score: 0 Act of Valor
Score distribution:
  1. Positive: 72 out of 196
  2. Negative: 62 out of 196
196 movie reviews
    • 49 Metascore
    • 25 Andrew Schenker
    A year in the life of a young woman unhappy in love and uncertain in career, Lola Versus could easily be faulted for the narrowness of its worldview.
    • 62 Metascore
    • 25 Andrew Schenker
    High school creative-writing-class ironies of all kinds abound in The Help.
    • 45 Metascore
    • 25 Andrew Schenker
    Excepting a momentary late-film lapse into eye-rolling double-exposure tomfoolery, the film is as aesthetically bland as a film could conceivably be, the perfunctory camerawork imbuing the proceedings with an ugly, indistinctive gloss.
    • 56 Metascore
    • 25 Andrew Schenker
    The Details is as smug and self-satisfied as its privileged lead character.
    • 42 Metascore
    • 25 Andrew Schenker
    Albatross is simply a compendium of bad ideas.
    • 60 Metascore
    • 25 Andrew Schenker
    In Jay and Mark Duplass's film, the fragile middle-aged male ego is indulged, massaged, and, finally, critiqued.
    • 25 Metascore
    • 25 Andrew Schenker
    Mark Steven Johnson's Killing Season is a hard movie to take seriously, which is particularly unfortunate since it deals with such weighty issues as genocide, the ethical compromises that everyone makes in combat, and the lingering effects of wartime decisions on participants years down the line.
    • 59 Metascore
    • 25 Andrew Schenker
    It's hard to say which is worse: the unfunny caricatures or the indulgent soul-searching.
    • 14 Metascore
    • 25 Andrew Schenker
    Unsurprisingly for a film detailing terminal disease, this is a largely solemn affair, often verging on morbidity in its elongated deathwatch.
    • 28 Metascore
    • 25 Andrew Schenker
    The film speeds ahead with almost gleeful disinterest in dealing with the narrative challenges it sets up before resolving them in the most perfunctory ways imaginable.
    • 30 Metascore
    • 25 Andrew Schenker
    A safe, laugh-free exercise that gets to have its fun, such as it is, because it's all in the service of the most conservative notions of domestic normality.
    • 20 Metascore
    • 25 Andrew Schenker
    What most rankles about the film is the way that its insistence on paternal instincts as the principal signifier of male adulthood leads it to sanction the most childlike behavior of all.
    • 41 Metascore
    • 25 Andrew Schenker
    Mostly the movie's varied storylines cough up the same platitudes: being pregnant sucks, having young children is a misery, but it's all worth it when you're holding that newborn in your arms.
    • 52 Metascore
    • 25 Andrew Schenker
    C├ędric Klapisch settles for a mixture of bland obviousness and crudely manufactured drama.
    • 27 Metascore
    • 25 Andrew Schenker
    Writer-director Nika Agiashvili buys into the concept of the American dream with the zeal of a true believer.
    • 17 Metascore
    • 25 Andrew Schenker
    Essentially a horror movie in which the source of the horror shifts from capital-M men to crazed lesbianism.
    • 71 Metascore
    • 25 Andrew Schenker
    Not everyone's life is compelling enough to warrant the documentary treatment, but whether this truism applies to master puppeteer and current Sesame Street producer Kevin Clash is a question that Being Elmo: A Puppeteer's Journey, Constance Marks's fawning portrait of the Muppet- master fails to answer.
    • 38 Metascore
    • 25 Andrew Schenker
    Kat Coiro's film takes the comedy of discomfort to new levels of cringe-worthiness by presenting.
    • 64 Metascore
    • 25 Andrew Schenker
    The making of The Way must have been a nice moment for father and son, but why must the rest of us suffer?
    • 22 Metascore
    • 25 Andrew Schenker
    Overly expository dialogue abounds throughout Martin Guigui's movie, as do questionable filmmaking choices and plenty of stupidly unconvincing actions taken on the part of the film's characters.
    • 53 Metascore
    • 12 Andrew Schenker
    At once hopelessly amateurish and given to desperate assertions of auterist "virtuosity."
    • 48 Metascore
    • 12 Andrew Schenker
    Awesomeness seems to be the chief quality prized by both the film and its characters; all other considerations--like safety, property damage, and especially good taste--are secondary.
    • 68 Metascore
    • 12 Andrew Schenker
    It seems as if Craig Zobel wants to implicate the audience in these proceedings, but he doesn't have a very clear idea how to go about it.
    • 34 Metascore
    • 12 Andrew Schenker
    By the dictates of the boys-will-be-boys party genre, 21 and Over is so tame that it barely manages to even be offensive.
    • 38 Metascore
    • 12 Andrew Schenker
    Until its pair of ludicrous twist endings, which complicates its message and logistics in ways that make little sense, Gabe Torres's Brake plays like a more simplistic version of Buried tailored specifically to a hawkish right-wing crowd.
    • 31 Metascore
    • 12 Andrew Schenker
    While the male characters are certainly not presented as models of enlightened behavior, their antics and crises are indulged in a manner not extended to their female counterparts.
    • 56 Metascore
    • 12 Andrew Schenker
    There's but one sequence in the entire movie that offers even the slightest bit of filmmaking verve, and even this speaks to the project's essential myopia.
    • 22 Metascore
    • 12 Andrew Schenker
    David Guy Levy's movie foregrounds the potential ugliness of modern technology in order to comment on it. But that doesn't make the film's visuals any less hideous.
    • 55 Metascore
    • 12 Andrew Schenker
    If you've ever seen Psycho, or even if you know anything at all about the film, Sacha Gervasi's Hitchcock would like to congratulate you on your savvy.
    • 58 Metascore
    • 12 Andrew Schenker
    Only a few snippets escape the uncritical narcissism that the film celebrates and, despite their unimaginative employment, they stand as something of a rebuke to the film's dominant images.

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