Andrew Schenker
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For 195 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 9.9 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: 71 out of 195
  2. Negative: 62 out of 195
195 movie reviews
    • 59 Metascore
    • 38 Andrew Schenker
    A predictable, drawn-out romantic comedy that happens to be set in the shadow of impending apocalypse.
    • 36 Metascore
    • 38 Andrew Schenker
    What's perhaps most off-putting about the movie isn't its increasingly stale humor, but the way it ultimately validates its characters' worst impulses.
    • 36 Metascore
    • 38 Andrew Schenker
    Shifting between wacky situation comedy and somber familial drama, Why Stop Now? isn't invested enough in either mode to convincingly pull off its genre-hopping ambitions.
    • 55 Metascore
    • 38 Andrew Schenker
    While the heart of the movie is the at-times strained relationship between the two leads, it all unfolds rather by the numbers, dictated more by the expected arc of such things than the demands of the characters.
    • 61 Metascore
    • 38 Andrew Schenker
    Director Erik Canuel fails to deliver us from the inevitable hermeticism of the material.
    • 45 Metascore
    • 38 Andrew Schenker
    With Danny Way almost never weighing in directly, the film's attempts to portray his story as an inspirational tale of triumph over adversity scarcely registers.
    • 42 Metascore
    • 38 Andrew Schenker
    At the center of the film, festering like an open sore, is the stereotype of the psycho lesbian bitch.
    • 66 Metascore
    • 38 Andrew Schenker
    Joseph Gordon-Levitt's directorial debut does for porn-dependence what Shame did for sex addiction by offering a surface-level look at the effects of its specific pathology on its lead male character.
    • 60 Metascore
    • 38 Andrew Schenker
    A cursory history lesson with no interest in probing the deeper or more complex implications of Mandela's positions and their relationship to his country's shifting landscape.
    • 48 Metascore
    • 30 Andrew Schenker
    Cassavetes puts over this simple, poorly acted story with moody lighting, self-consciously "beautiful" gore, and an annoying penchant for impressionistic quick-cut flashbacks, all of which get in the way of rather than enhance the supposed fun.
    • 16 Metascore
    • 30 Andrew Schenker
    Amardeep Kaleka's documentary often seems like little more than preaching-to-the-converted, New Age drivel.
    • 29 Metascore
    • 30 Andrew Schenker
    Mukunda Michael Dewil's film has the makings of a taut little thriller, but the writer-director has the twin disadvantages of needing to include dialogue and to rely on the services of Paul Walker to embody his protagonist.
    • 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.
    • 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?
    • 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.
    • 59 Metascore
    • 25 Andrew Schenker
    It's hard to say which is worse: the unfunny caricatures or the indulgent soul-searching.
    • 52 Metascore
    • 25 Andrew Schenker
    C├ędric Klapisch settles for a mixture of bland obviousness and crudely manufactured drama.
    • 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.
    • 42 Metascore
    • 25 Andrew Schenker
    Albatross is simply a compendium of bad ideas.
    • 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.
    • 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.
    • 35 Metascore
    • 25 Andrew Schenker
    The film is awash in blandly brown-toned cinematography, action scenes more violent than rousing, and a whole host of bathetic subplots.
    • 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.
    • 60 Metascore
    • 25 Andrew Schenker
    In Jay and Mark Duplass's film, the fragile middle-aged male ego is indulged, massaged, and, finally, critiqued.
    • 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.
    • 56 Metascore
    • 25 Andrew Schenker
    The Details is as smug and self-satisfied as its privileged lead character.
    • 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.
    • 17 Metascore
    • 25 Andrew Schenker
    Essentially a horror movie in which the source of the horror shifts from capital-M men to crazed lesbianism.
    • 27 Metascore
    • 25 Andrew Schenker
    Writer-director Nika Agiashvili buys into the concept of the American dream with the zeal of a true believer.

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