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 10.3 points lower than other critics. (0-100 point scale)

Andrew Schenker's Scores

  • Movies
  • TV
Average review score: 50
Highest review score: 100 The Turin Horse
Lowest review score: 0 Act of Valor
Score distribution:
  1. Positive: 71 out of 195
  2. Negative: 62 out of 195
195 movie reviews
    • 64 Metascore
    • 38 Andrew Schenker
    A (relatively) tasteful and restrained approach to potentially lurid subject matter isn't necessarily any better than one that gives in freely to what might be seen as a filmmaker's baser impulses.
    • 67 Metascore
    • 38 Andrew Schenker
    Of all the vaguely philosophical, calculatedly left-of-center dialogue that peppers Miranda July's The Future, no line is more telling than the writer/director/star's late-film declaration, in the guise of her character Sophie, that "I'm saying okay to nothing."
    • 42 Metascore
    • 38 Andrew Schenker
    Debbie Goodstein-Rosenfeld's film seems oddly anemic when it deals with anyone but Chazz Palminteri's Joe.
    • 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
    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.
    • 59 Metascore
    • 38 Andrew Schenker
    Sarah's Key becomes a musing ("meditation" would be too generous) on the importance of uncovering the past that fails to honestly contemplate why such an act is significant.
    • 48 Metascore
    • 38 Andrew Schenker
    Gentler and less aesthetically assaultive than offerings like 0s & 1s and Catfish, but it's not necessarily any subtler or more enlightening.
    • 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.
    • 82 Metascore
    • 38 Andrew Schenker
    Nuri Bilge Ceylan has to be the least kinetic of working filmmakers - and not simply in the sense of static camerawork or lack of narrative momentum.
    • 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.
    • 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.
    • 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.
    • 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.

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