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 11.9 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
    • 53 Metascore
    • 50 Andrew Schenker
    All of this could be very funny, but while the film does deliver some strong comic turns, far too much time is spent watching an inactive Kofman whining about his lot.
    • 72 Metascore
    • 50 Andrew Schenker
    One is left wondering what exactly the now moldy "anything is possible" sentiments of our 44th president have to do with a music whose history and cultural meaning we've just spent the last two hours not learning nearly enough about.
    • 60 Metascore
    • 50 Andrew Schenker
    It's all very tastefully handled by Ben Sombogaart, shot in plenty of staid compositions whose denuded color scheme suggests a historical remove, but it rarely generates any heat, even during a pair of graphic, but not particularly erotic sex scenes.
    • 82 Metascore
    • 50 Andrew Schenker
    Steve Coogan and Rob Brydon's shtick - a relentless verbal sparring comprised of dueling impressions, poetry recitations, absurdist riffing, and comic one-upmanship - works best in small doses.
    • 71 Metascore
    • 50 Andrew Schenker
    Battle for Brooklyn brings up larger quandaries about urban development which it doesn't begin to address.
    • 83 Metascore
    • 50 Andrew Schenker
    To drive home the pathos of Nim's mistreatment, James Marsh frequently makes questionable use of the creature's apparent similarity to human beings, trading complex analysis for easy sentiment.
    • 58 Metascore
    • 50 Andrew Schenker
    This is one film that's overly reliant on a dubious central symbol, schematically employed.
    • 68 Metascore
    • 50 Andrew Schenker
    This schizophrenic conception of Gosling's character is indicative of the film's largely dichotomous view of romantic relationships.
    • 55 Metascore
    • 50 Andrew Schenker
    Of the film's three principals, it's only teenage Michael--more than ably embodied by screen newcomer Harmony Santana--that writer-director Rashaad Ernesto Green seems to have much of a feel for.
    • 68 Metascore
    • 50 Andrew Schenker
    The first four of the film's 1980s-set episodes are shorter in length and more anecdotal in nature than the last two and deal primarily with the pageantry and inflexible customs behind the regime with a perspective at once amused and bemused.
    • 63 Metascore
    • 50 Andrew Schenker
    The film is less corporate parable than intricately crafted revenge drama whose intensively detailed plotting can't hide the fact that the whole thing seems like a lot of work for a glaringly modest payoff.
    • 62 Metascore
    • 50 Andrew Schenker
    The film lacks the immediacy of the Dardenne brothers' pictures, the electrifying sense that anything might happen, while also avoiding their penchant for redemptive resolutions.
    • 53 Metascore
    • 50 Andrew Schenker
    Only Jackie Chan, in a comedic supporting role as a Zen-trained cook who applies his culinary techniques on the battlefield (he "stir-fries" one enemy in a giant pot and "kneads" another like dough), provides any measure of relief.
    • 55 Metascore
    • 50 Andrew Schenker
    3
    3 is a smidgeon film. Take a smidgeon of scientific/ethical discussion, throw in a pinch of dance/poetry/dream sequences, tie the whole thing up with split-screen montages and you no longer just have a film about a love triangle, but a Godardian objet d'art.
    • 57 Metascore
    • 50 Andrew Schenker
    Joan aside, the film goes down easy enough.
    • 53 Metascore
    • 50 Andrew Schenker
    The relationship between the two leads neither deteriorates nor seriously improves and last-minute romantic developments don't so much as give shape to the narrative as play as perfunctory gestures of closure.
    • 56 Metascore
    • 50 Andrew Schenker
    The Rum Diary, Bruce Robinson's amorphous hodgepodge of a film, wants to be many things: period recreation, social commentary, morality play, romance, an insider look at the newspaper game.
    • 69 Metascore
    • 50 Andrew Schenker
    A typically anodyne rom-com given a certain poignant piquancy by the paralyzing shyness of its romantic leads.
    • 46 Metascore
    • 50 Andrew Schenker
    This film has too many weak, unconnected strands (what's the subplot about the narrator's father doing here anyway?), too much overtly expositional dialogue, and too unfocused a narrative to really cohere. And then there's that whole matter of expendable whores.
    • 69 Metascore
    • 50 Andrew Schenker
    Offers up little more than a tired morality play about the dangers of power, rehashing stale insights about the narcissism of the documentary impulse.
    • 61 Metascore
    • 50 Andrew Schenker
    Steven Meyer's documentary treads a middle ground between illumination and cheap waterworks.
    • Slant Magazine
    • 74 Metascore
    • 50 Andrew Schenker
    Rather than bringing out the symbolic inner lives of the characters, these sequences seem like the intrusion of an aggressive authorial personality on a film whose subject-as well as the fact of Har'el's outsider status-demands that the filmmaker simply sit back and observe.
    • 52 Metascore
    • 50 Andrew Schenker
    Fails to dig too deep into the politics or inner workings of the new right-wing youth movement it profiles, remaining content with simplistic conclusions about pro-Putin thuggery.
    • 73 Metascore
    • 50 Andrew Schenker
    The film wisely avoids giving its material a large-scale epic quality it can't sustain, but it also results in a project that lacks the complexity to register as more than a handsome little sketch.
    • 70 Metascore
    • 50 Andrew Schenker
    Boy
    Less concerned with rendering the specifics of its setting (a small Maori town on the New Zealand coast) than in calling on bouts of whimsy and superficial cultural signifiers to approximate the headspace of its central characters.
    • 82 Metascore
    • 50 Andrew Schenker
    Joseph Cedar's Footnote is a sour, rather unpleasant affair that hinges on acts of Jews behaving badly.
    • tbd Metascore
    • 50 Andrew Schenker
    It's all fairly by the numbers, but in Boeken's presentation, the film isn't without its moments of narrative power.
    • 60 Metascore
    • 50 Andrew Schenker
    For the most part, this is a boys-will-be-boys movie that excuses everything its pair of protags do in the name of some sort of cosmic order.
    • 68 Metascore
    • 50 Andrew Schenker
    While everything here is mostly unspoken, and the film itself hints at a broader set of concerns than simply two lost souls meeting on foreign ground, Here too often feels like a jumble of ideas that don't quite cohere.
    • 64 Metascore
    • 50 Andrew Schenker
    Both an informative bit of agitprop and an ultra slick and slightly self-satisfied bit of entertainment.

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