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 9.7 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
    • 82 Metascore
    • 50 Andrew Schenker
    Joseph Cedar's Footnote is a sour, rather unpleasant affair that hinges on acts of Jews behaving badly.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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."
    • 55 Metascore
    • 50 Andrew Schenker
    Nancy Savoca's film begins in caricature and ends in sentimentality, only briefly hitting the sweet spot in between.
    • 54 Metascore
    • 50 Andrew Schenker
    A half-hearted morality tale about taking responsibility for your actions as a sign of impending maturity.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 49 Metascore
    • 50 Andrew Schenker
    The movie aims for an admirable balance, but fatally upsets that equilibrium in its hurried resolutions.
    • 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.
    • 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.
    • 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.
    • 65 Metascore
    • 50 Andrew Schenker
    Walks a fine line between empathetic treatment of its characters and voyeuristic freakshow gazing.
    • 58 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.
    • 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?
    • 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.
    • 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.