For 193 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 9.6 points lower than other critics. (0-100 point scale)

Andrew Schenker's Scores

  • Movies
Average review score: 49
Highest review score: 100 The Turin Horse
Lowest review score: 0 Act of Valor
Score distribution:
  1. Positive: 69 out of 193
  2. Negative: 62 out of 193
193 movie reviews
    • 80 Metascore
    • 100 Andrew Schenker
    Béla Tarr is the cinema's greatest crafter of total environments and in The Turin Horse, working in his most restricted physical setting since 1984's Almanac of Fall, he (along with co-director Ágnes Hranitzky) dials up one of his most vividly immersive milieus.
    • 85 Metascore
    • 88 Andrew Schenker
    Order may be restored to the Circus, the "bad" elements weeded out, but in the jaundiced world the film has spent the last two hours so effectively delineating, the barriers between good and evil have been shown to be essentially meaningless.
    • 73 Metascore
    • 88 Andrew Schenker
    A boldly conceived assemblage of diverse and seemingly random fictional materials, Athina Rachel Tsangari's Attenberg is concerned with nothing less than those hardy perennials: sex, death, and modernity. And coming of age a little too late.
    • 84 Metascore
    • 88 Andrew Schenker
    Although the film remains continually fanciful, it always reminds us of the stakes in which precocious childhood rubs up against the possibility of a childhood denied altogether.
    • 57 Metascore
    • 88 Andrew Schenker
    A sense of anachronism is what provides the film with its melancholy heart.
    • 89 Metascore
    • 88 Andrew Schenker
    In Joshua Oppenheimer's extraordinary The Act of Killing, film becomes the medium for a bold historical reckoning--and in more ways than one.
    • 80 Metascore
    • 88 Andrew Schenker
    Frederick Wiseman's At Berkeley isn't only a study of the contemporary American university, but, like all of the filmmaker's best documentaries, a wide-ranging inquiry into the larger institutions and contradictions that define life in the United States.
    • 66 Metascore
    • 75 Andrew Schenker
    Proves how invigorating genre filmmaking can be in the hands of a savvy, perpetually inventive director.
    • 60 Metascore
    • 75 Andrew Schenker
    Shat makes Our Idiot Brother work is the endless appeal of watching Rudd's lovable idiot run roughshod over the sophisticated New York mini-universe while winning the confidence and admiration of everyone around him.
    • 74 Metascore
    • 75 Andrew Schenker
    A slick, entertaining offering, playing at times like a tarted up "E! True Hollywood Story."
    • 62 Metascore
    • 75 Andrew Schenker
    The film proves that neither gross-out gags nor pseudo-sophisticated Woody Allenisms are necessary to make a smart, funny comedy.
    • 72 Metascore
    • 75 Andrew Schenker
    It not only makes for riveting cinematic drama (all the more impressive given that it relies so heavily on recounted words rather than illustrated actions), but for first-rate muckraking.
    • 77 Metascore
    • 75 Andrew Schenker
    Not only sets up the writer's life as representative of the transitions of early modern Jewish life, but posits his oeuvre as an ongoing chronicle of the shift from a vibrant, unified Yiddish culture to a fractured world-in-exile.
    • 67 Metascore
    • 75 Andrew Schenker
    Rachid Bouchareb casts his account of the horrifying aftermath of tragedy on an intimate scale, allowing the halting words and frightened faces of his two leads to tell us as much as we need to know about the uncertainties of those faced with tracking down their lost loved ones.
    • 72 Metascore
    • 75 Andrew Schenker
    The film successfully positions its point of view with the developing countries that suffer the most immediate consequences of global warming rather than the developed countries most responsible for climate change and from whose citizenry Jon Shenk's prospective audience is likely to be drawn.
    • 76 Metascore
    • 75 Andrew Schenker
    A study of the this former mining region in both its de-industralized present and its past state as an active coalfield, The Miners' Hymns arranges its two parts as a set of binary oppositions.
    • 62 Metascore
    • 75 Andrew Schenker
    Thanks to Melanie Lynskey's performance, the movie feels like a believably worked-out, sympathetically presented study in thirtysomething uncertainty.
    • 81 Metascore
    • 75 Andrew Schenker
    The director's clear-minded approach allows her subject's more challenging aesthetic-political mix to shine through, even if it's at the inevitable expense of her own filmmaking proclivities.
    • 42 Metascore
    • 75 Andrew Schenker
    Shawn Levy's occasionally uproarious, warm-hearted comedy is about different generations educating each other, but it never seems rote.
    • 57 Metascore
    • 75 Andrew Schenker
    Tsui Hark's film is the veteran director's chance to let his imagination run riot in the context of a high-budget, 3D IMAX production.
    • 69 Metascore
    • 75 Andrew Schenker
    There's no coddling the audience in Vibeke Løkkeberg's verité heave of disgust as the full consequences on the Palestinian people of Operation Cast Lead are made sickeningly clear.
    • 77 Metascore
    • 75 Andrew Schenker
    The mixture of different techniques and varied views results in a rich, multi-faceted look at one of America's most misguided policy initiatives.
    • 71 Metascore
    • 75 Andrew Schenker
    Jason Tippet and Elizabeth Mims refuse to use their subjects as test cases for any sort of larger thesis.
    • 74 Metascore
    • 75 Andrew Schenker
    Alejandro Landes's Porfirio is an ugly movie to watch, but it's not without purpose.
    • 71 Metascore
    • 75 Andrew Schenker
    James Marsh carries forward the mood and menace of the opening into the balance of the work, perfectly matching his aesthetic strategies to the story's shifting moral terrain.
    • 79 Metascore
    • 75 Andrew Schenker
    The film unfolds in unhurried dramatic terms that come to take on an almost fatalistic force.
    • 52 Metascore
    • 75 Andrew Schenker
    Lynn Shelton crafts a film of astonishingly sustained mood, tying its beguiling atmosphere to the mental states of her characters.
    • 75 Metascore
    • 75 Andrew Schenker
    It gives a true sense of how the forces of a hypocritically religious country has burdened countless young women with a lifetime of misplaced guilt.
    • 56 Metascore
    • 75 Andrew Schenker
    The film, lensed in appealing candy-striped colors, has so much fun exploding stereotypes and radiates with such infectious comic gusto and genuine good nature, that it would be almost churlish to resist its charms.
    • 72 Metascore
    • 70 Andrew Schenker
    The film never lingers too long on any one thing, instead functioning as a survey in which several fascinating cultural moments are vividly evoked, but then left insufficiently probed.
    • 48 Metascore
    • 63 Andrew Schenker
    One Day conveys a real sense of the poignancy of individual lives unfolding over time, but the film's ultimate embrace of conventionality ultimately undercuts the not inconsiderable accomplishments the project had worked so hard to achieve.
    • 76 Metascore
    • 63 Andrew Schenker
    Even as an "18 months later" epilogue ensures us that everything's hunky dory, this is one surprisingly grim celebration of a group Rapaport obviously loves.
    • 57 Metascore
    • 63 Andrew Schenker
    The astonishing footage of apes in their natural environment is made perfectly accessible and then nearly undone by a narration track that plays to the audience's basest desires for gag-inducing cuteness.
    • 62 Metascore
    • 63 Andrew Schenker
    Haney's movie is not great cinema, nor was meant to be, but as an introduction to one of the myriad dangers threatening our earth, it serves its cause well enough. And that, after all, is the whole point.
    • 62 Metascore
    • 63 Andrew Schenker
    Chockfull of ideas in a way that's both scattershot and more than a little exciting.
    • 70 Metascore
    • 63 Andrew Schenker
    Expressionistic rather than analytical, Passione, John Turturro's cinematic ode to the music of Naples, Italy, unfolds as a compendium of tuneful performances bracketed with the barest of contextualization.
    • 63 Metascore
    • 63 Andrew Schenker
    What Puiu seems to be suggesting is that the complexities of human behavior and relationships are beyond the power of the law to comprehend, but are they also beyond the power of the cinema?
    • 71 Metascore
    • 63 Andrew Schenker
    Mozart's Sister is too often just one more rehashing of the "Aw, didn't women have it tough then" thematic that never forces the viewer to acknowledge that maybe they haven't got it as great as we'd like to think today.
    • 49 Metascore
    • 63 Andrew Schenker
    If this oddly delineated narrative often falls between two stools, then the replacement of brightly bombastic opera battles with dimly lit, more conventional action sequences is a similarly unwelcome development.
    • 77 Metascore
    • 63 Andrew Schenker
    The film's inquiry into the artistic method remains somewhat at the superficial level, but the directors do a fine job of emphasizing both the circumstances that lead to the music's creation and the satisfying result of the irrepressible sounds.
    • 63 Metascore
    • 63 Andrew Schenker
    The film contains far more passion and a tad more complexity than the dominant and typically more staid model of middlebrow costume drama.
    • 64 Metascore
    • 63 Andrew Schenker
    A not insignificant act of oral history, Gabor Kalman's There Was Once… makes for considerably less compelling cinema whenever it turns its focus away from the talking-head testimony of the Holocaust survivors of Kalosca, Hungary.
    • 57 Metascore
    • 63 Andrew Schenker
    Oliver Laxe goes full-on meta by casting himself in the role of a visiting moviemaker who travels to Morocco to shoot footage with disadvantaged children living in a shelter.
    • 62 Metascore
    • 63 Andrew Schenker
    Even as it takes pleasure in imagining the wheeling and dealing that politicos make when no one is looking, it never offers as much insight into the process by which a president is made as its premise would seem to promise.
    • 73 Metascore
    • 63 Andrew Schenker
    The surest sign that a filmmaker recognizes the insularity of his or her project is the presence of perfunctory attempts to hint at a wider political context.
    • 70 Metascore
    • 63 Andrew Schenker
    Nothing here is wrong, but beyond pointing out that sexually charged teenage girls are likely to be misunderstood in an oppressive small town, there's nothing that's especially insightful here either.
    • 64 Metascore
    • 63 Andrew Schenker
    Nanni Moretti's latest is a mixed bag that too often settles for easy, superficial laughs.
    • 38 Metascore
    • 63 Andrew Schenker
    This is one vampire film whose sexless, generic ending betrays a promise of revisionist complexity.
    • 63 Metascore
    • 63 Andrew Schenker
    As director Liza Johnson understands, simply being over there changes someone, no matter if anything unusually traumatic happened to the person.
    • 60 Metascore
    • 63 Andrew Schenker
    With the film, Melissa McCarthy definitively cements her status as a legitimate comic talent, leaving her co-star stumbling behind in her wake.
    • 72 Metascore
    • 63 Andrew Schenker
    The film too often undercuts its goals by indulging its director's need for self-affirmation at the expense of the movie's far more compelling central subject.
    • 79 Metascore
    • 63 Andrew Schenker
    The title of Susan Froemke's documentary is both an expression of aspiration and a statement of achievement.
    • 62 Metascore
    • 63 Andrew Schenker
    Dreams of a Life succeeds in making its point about the unkowability of the people in our lives, but there isn't quite enough substance here to fully sustain the film.
    • 76 Metascore
    • 63 Andrew Schenker
    Much of the film's final act is given to alienated walking, which too often plays as an abstract study of triangular arrangements in which non-speaking figures move across a barren terrain.
    • 62 Metascore
    • 63 Andrew Schenker
    Peter Ho-Sun Chan and Deonnie Yen Chan are too resourceful to let things remain dull for long.
    • 72 Metascore
    • 63 Andrew Schenker
    The slightly dour tone is the perfect backdrop for the director to skillfully weave together his varied narrative strands in a surprisingly entertaining medley.
    • 82 Metascore
    • 63 Andrew Schenker
    Given the film's early promise, it's unfortunate how it turns into a largely reductive Freudian character piece in which the main character has to come to terms with his old man.
    • 63 Metascore
    • 63 Andrew Schenker
    It too often feels like just one more aesthetically uninspired documentary that gives way in the end to a special round of pleading for its specific cause.
    • 69 Metascore
    • 63 Andrew Schenker
    The film works best when it focuses viewer attention most acutely on the story, deflecting it away from the director's manipulations.
    • 42 Metascore
    • 63 Andrew Schenker
    A little too deliberately balanced in its depiction of its three leads, but it largely makes up the difference with its informed grounding in the economic and social terrain of contemporary France.
    • 64 Metascore
    • 63 Andrew Schenker
    As in Tizza Covi and Rainer Frimmel's 2009 film, La Pivellina, modesty is the key to The Shine of Day, and sometimes to the detriment of audience involvement and focus.
    • 72 Metascore
    • 63 Andrew Schenker
    As far as films about couples dealing with the female partner losing her mind go, Still Mine is pretty pedestrian.
    • 79 Metascore
    • 63 Andrew Schenker
    It's occasionally too icily removed, but it compensates through its perpetual concern with understanding its characters and their untenable situations.
    • 70 Metascore
    • 63 Andrew Schenker
    A nose-to-the-ground crime thriller that also doubles as a wide-ranging portrait of official corruption in the Philippines, On the Job has little trouble delivering the genre goods.
    • 67 Metascore
    • 63 Andrew Schenker
    In its refusal to bring an easy understanding to its main character's behavior, it comes dangerously close to presenting her as a willing perpetrator in her own victimhood.
    • 68 Metascore
    • 50 Andrew Schenker
    This schizophrenic conception of Gosling's character is indicative of the film's largely dichotomous view of romantic relationships.
    • 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.
    • 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.
    • 65 Metascore
    • 50 Andrew Schenker
    Walks a fine line between empathetic treatment of its characters and voyeuristic freakshow gazing.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 71 Metascore
    • 50 Andrew Schenker
    Battle for Brooklyn brings up larger quandaries about urban development which it doesn't begin to address.
    • 59 Metascore
    • 50 Andrew Schenker
    This is one film that's overly reliant on a dubious central symbol, schematically employed.
    • 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.
    • 57 Metascore
    • 50 Andrew Schenker
    Joan aside, the film goes down easy enough.
    • 54 Metascore
    • 50 Andrew Schenker
    A half-hearted morality tale about taking responsibility for your actions as a sign of impending maturity.
    • 57 Metascore
    • 50 Andrew Schenker
    Class privilege and sexual politics are inextricably linked in Trishna, Michael Winterbottom's blunt, self-consciously brutal, and rather loose updating of Thomas Hardy's "Tess of the D'Urbervilles."
    • 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.
    • 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.
    • 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.
    • 86 Metascore
    • 50 Andrew Schenker
    Undeniably rousing, but deeply irresponsible, Argo fans the flames surrounding historical events likely to still remain raw in the memory of many viewers.
    • 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.
    • 49 Metascore
    • 50 Andrew Schenker
    Allen Hughes may suggest an air of pretty menace, but he does little to make the sequence work as a legible genre scene.
    • 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.
    • 69 Metascore
    • 50 Andrew Schenker
    A typically anodyne rom-com given a certain poignant piquancy by the paralyzing shyness of its romantic leads.
    • 82 Metascore
    • 50 Andrew Schenker
    Joseph Cedar's Footnote is a sour, rather unpleasant affair that hinges on acts of Jews behaving badly.
    • 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.
    • 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.
    • 61 Metascore
    • 50 Andrew Schenker
    Steven Meyer's documentary treads a middle ground between illumination and cheap waterworks.
    • 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.
    • 45 Metascore
    • 50 Andrew Schenker
    What saves the film from being simply a schematic mother-daughter reconciliation drama is both the reluctance and prickliness that Catherine Keener brings to her character.
    • 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.
    • 50 Metascore
    • 50 Andrew Schenker
    Suffers from both an odd, ineffective structure and a low-key tone that jars uncomfortably with the subject matter and makes the film's stakes seem unnecessary low.
    • 66 Metascore
    • 50 Andrew Schenker
    Jason Moore's film is more or less successful in inverse proportion to the degree that it plays its material by the book.
    • 31 Metascore
    • 50 Andrew Schenker
    The film is far too indulgent with its lead character to do more than hint at the ways that one form of male egotism can morph into another.
    • 55 Metascore
    • 50 Andrew Schenker
    Nancy Savoca's film begins in caricature and ends in sentimentality, only briefly hitting the sweet spot in between.
    • 73 Metascore
    • 50 Andrew Schenker
    The film is too tepid in its treatment of its central character and her situation to generate any real emotive charge.
    • 61 Metascore
    • 50 Andrew Schenker
    Essentially the film aims to trade in the awkwardness of teen sexuality, but too often settles for the gross-out gag instead.
    • 53 Metascore
    • 50 Andrew Schenker
    Fitfully engaging, but the documentary turns into a touchy-feely isn't-it-wonderful-we're-all-saved love fest as soon as the universalists begin to dominate the interview segments.
    • 57 Metascore
    • 50 Andrew Schenker
    The film is somewhat flimsy, tinged with the impulse to make the elderly characters just the right amount of ridiculous for the benefit of younger viewers.
    • 43 Metascore
    • 50 Andrew Schenker
    This twist-heavy World War II drama would play as an absurdist comedy if the director wasn't so dead set on excluding just about any trace of humor from his self-serious project.
    • 53 Metascore
    • 50 Andrew Schenker
    For all the revelations about the way the rich operate, there's little juicy pleasure to be had in the proceedings.
    • 40 Metascore
    • 50 Andrew Schenker
    The characters never sound like they're actually talking to one another, but rather delivering Jeff Lipsky's echo-chamber monologues.
    • 34 Metascore
    • 50 Andrew Schenker
    The film seldom pushes beyond the bare-minimum dictates of the thriller, only rarely offering up a memorable action sequence.
    • 49 Metascore
    • 50 Andrew Schenker
    The movie aims for an admirable balance, but fatally upsets that equilibrium in its hurried resolutions.
    • 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.
    • 67 Metascore
    • 50 Andrew Schenker
    For all of the director's willingness to explore his characters' unexpected depths, he's still hamstrung by his perpetually tasteful cinema-of-quality aesthetic.
    • 50 Metascore
    • 50 Andrew Schenker
    Much of the film's attempted laughs come from the comedy-of-discomfort school, with an endless array of situations that milk awkwardness to a degree that makes these scenes far more unpleasant than humorous to watch.
    • 73 Metascore
    • 50 Andrew Schenker
    The film scores all of its thematic points early, commenting intriguingly, if ultimately rather obviously, on the demands of Japanese patriarchy.
    • 27 Metascore
    • 50 Andrew Schenker
    The alignment with Herman's perspective, even as it never downplays the gravity of his crimes, leads the film into a set of obvious conclusions.
    • 54 Metascore
    • 50 Andrew Schenker
    Is an exploration of sex addiction, in all its different manifestations, the new flavor of the week in contemporary American cinema?
    • 59 Metascore
    • 50 Andrew Schenker
    The film rarely takes us past its rather obvious conclusions about the potential bestial nature of kids and how that may translate to the larger battlefields.
    • 35 Metascore
    • 50 Andrew Schenker
    The film smartly avoids the sort of cynical hijinks that characterize the majority of Vegas-set flicks, though it can't come up with anything more compelling to place in its stead.
    • 75 Metascore
    • 50 Andrew Schenker
    Ralph Fiennes's film feels not so much rooted in the past as it is mired in conventions about how to portray that past.
    • 59 Metascore
    • 50 Andrew Schenker
    The modern-day sections with Mariel Hemingway, while detailing the redemptive promise of the title, too often come across as either indulgent time-filler or overflow with PSA-level superficiality.
    • 63 Metascore
    • 50 Andrew Schenker
    Alternating between self-consciously offbeat comedy and existential J-horror, It's Me, It's Me never quite satisfies in either mode.
    • 35 Metascore
    • 40 Andrew Schenker
    Even as Deb comes to embrace the vibrancy of urban life, she's still prey to a blinkered suburban viewpoint which becomes inscribed in the film itself.
    • 34 Metascore
    • 40 Andrew Schenker
    Enjoyment of Jeff Kaplan's film will vary given your capacity to simultaneously laugh and wink at the hijinks of two of the least palatable characters to share screen time in recent years.
    • 47 Metascore
    • 40 Andrew Schenker
    When Diana's fixations begin to take over, Fidell seems ill-prepared to steer the film into strictly psychological territory, resulting in a project that loses its fraught sense of control at the same moment as its embattled protagonist.
    • 63 Metascore
    • 38 Andrew Schenker
    For a film that had once made some pretense toward exposing such dangerously submissive attitudes toward Hollywood romance, Friends with Benefits's conclusion can't help but seem more than a wee bit disingenuous.
    • 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."
    • 76 Metascore
    • 38 Andrew Schenker
    Life lessons abound in Buck, most of them tied to endlessly reiterated comparisons between man and horse.
    • 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.
    • 56 Metascore
    • 38 Andrew Schenker
    When does intensity and commitment supersede historical understanding?
    • 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.
    • 40 Metascore
    • 38 Andrew Schenker
    Francesca Gregorini and Tatiana von Furstenberg's film is episodic, but the episodes don't achieve any kind of cumulative effect.
    • 40 Metascore
    • 38 Andrew Schenker
    Like most of the film's performances, Sisley's comes off as flat and impenetrable, the result both of a certain stoical conception of character and the dissipation of focus that arises from the movie's perceived need to encompass so much.
    • 6 Metascore
    • 38 Andrew Schenker
    Played as broadly and as crudely as you please (in terms of acting, direction, "edgy" dialogue), Prince of Swine paints a grimly ugly portrait of male sexual violence and female submission.
    • 42 Metascore
    • 38 Andrew Schenker
    Naturally, given the film's somewhat precious air of spiritualism, the parroted phrase that speaks most clearly to Lyman is a quotation from the book of Ecclesiastes that gives the film its title and gives Fiona a chance to offer a blithely optimistic interpretation of that most dour of Biblical books.
    • 60 Metascore
    • 38 Andrew Schenker
    The film is so careful to avoid the luridness that would seem inevitably to accompany an excavation of child kidnapping, forced labor, and rape, that the result is a plodding, overly tasteful procedural that holds up its hero as an incorruptible embodiment of goodness.
    • 55 Metascore
    • 38 Andrew Schenker
    What unfolds is a predictably anguished story of true love thwarted by material circumstances, or in the terms dictated by the film, rationality triumphing over romance.
    • 35 Metascore
    • 38 Andrew Schenker
    The first half of the film is a virtual compendium of high-culture references, topical concerns addressed almost in passing, and narrative fracturing devices.
    • 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.
    • 59 Metascore
    • 38 Andrew Schenker
    A predictable, drawn-out romantic comedy that happens to be set in the shadow of impending apocalypse.
    • 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.
    • 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.
    • 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.
    • 42 Metascore
    • 38 Andrew Schenker
    Debbie Goodstein-Rosenfeld's film seems oddly anemic when it deals with anyone but Chazz Palminteri's Joe.
    • 67 Metascore
    • 38 Andrew Schenker
    Far more concerned with indulging a slightly less glossy Slumdog Millionaire-like aesthetic than dealing with the frayed relationships of its characters.
    • 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.
    • 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.
    • 61 Metascore
    • 38 Andrew Schenker
    Director Erik Canuel fails to deliver us from the inevitable hermeticism of the material.
    • 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.
    • 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.
    • 42 Metascore
    • 38 Andrew Schenker
    At the center of the film, festering like an open sore, is the stereotype of the psycho lesbian bitch.
    • 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.
    • 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.
    • 16 Metascore
    • 30 Andrew Schenker
    Amardeep Kaleka's documentary often seems like little more than preaching-to-the-converted, New Age drivel.
    • 62 Metascore
    • 25 Andrew Schenker
    High school creative-writing-class ironies of all kinds abound in The Help.
    • 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.
    • 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.
    • 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.
    • 59 Metascore
    • 25 Andrew Schenker
    It's hard to say which is worse: the unfunny caricatures or the indulgent soul-searching.
    • 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.
    • 52 Metascore
    • 25 Andrew Schenker
    Cédric Klapisch settles for a mixture of bland obviousness and crudely manufactured drama.
    • 42 Metascore
    • 25 Andrew Schenker
    Albatross is simply a compendium of bad ideas.
    • 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.
    • 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.
    • 27 Metascore
    • 25 Andrew Schenker
    Writer-director Nika Agiashvili buys into the concept of the American dream with the zeal of a true believer.
    • 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.
    • 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.
    • 60 Metascore
    • 25 Andrew Schenker
    In Jay and Mark Duplass's film, the fragile middle-aged male ego is indulged, massaged, and, finally, critiqued.
    • 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.
    • 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.
    • 27 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.
    • 38 Metascore
    • 25 Andrew Schenker
    Kat Coiro's film takes the comedy of discomfort to new levels of cringe-worthiness by presenting.
    • 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.
    • 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.
    • 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.
    • 53 Metascore
    • 12 Andrew Schenker
    At once hopelessly amateurish and given to desperate assertions of auterist "virtuosity."
    • 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.
    • 49 Metascore
    • 12 Andrew Schenker
    This dry-as-dust enterprise bogs down in an almost total lack of energy and imagination that no amount of faux earnestness can overcome.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 40 Metascore
    • 0 Andrew Schenker
    A movie whose cinematic ineptitude is matched only by its ideological rottenness, Act of Valor features a cast of real-life active-duty Navy SEALS in order to grant the project's us-versus-them geopolitical worldview a sham moral authority.