Andrew Schenker

Select another critic »
For 197 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 12.1 points lower than other critics. (0-100 point scale)

Andrew Schenker's Scores

  • Movies
  • TV
Average review score: 51
Highest review score: 100 Stray Dogs
Lowest review score: 0 Act of Valor
Score distribution:
  1. Positive: 73 out of 197
  2. Negative: 62 out of 197
197 movie reviews
    • 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.
    • 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.
    • 82 Metascore
    • 50 Andrew Schenker
    Joseph Cedar's Footnote is a sour, rather unpleasant affair that hinges on acts of Jews behaving badly.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • Slant Magazine
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 42 Metascore
    • 25 Andrew Schenker
    Albatross is simply a compendium of bad ideas.
    • 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.
    • 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.
    • 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.
    • 56 Metascore
    • 38 Andrew Schenker
    When does intensity and commitment supersede historical understanding?
    • 52 Metascore
    • 25 Andrew Schenker
    Cédric Klapisch settles for a mixture of bland obviousness and crudely manufactured drama.
    • 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.
    • 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.
    • 69 Metascore
    • 50 Andrew Schenker
    A typically anodyne rom-com given a certain poignant piquancy by the paralyzing shyness of its romantic leads.
    • 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.
    • 59 Metascore
    • 25 Andrew Schenker
    It's hard to say which is worse: the unfunny caricatures or the indulgent soul-searching.
    • 53 Metascore
    • 12 Andrew Schenker
    At once hopelessly amateurish and given to desperate assertions of auterist "virtuosity."
    • 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.

Top Trailers