Andrew Schenker
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For 194 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 9.7 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: 70 out of 194
  2. Negative: 62 out of 194
194 movie reviews
    • 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.