For 950 reviews, this critic has graded:
  • 49% higher than the average critic
  • 5% same as the average critic
  • 46% lower than the average critic
On average, this critic grades 8.1 points lower than other critics. (0-100 point scale)

Frank Scheck's Scores

  • Movies
  • TV
Average review score: 51
Highest review score: 100 Best Kept Secret
Lowest review score: 0 Beyond Honor
Score distribution:
950 movie reviews
    • 53 Metascore
    • 50 Frank Scheck
    While Highway Courtesans has many relevant points to make about the subjugation of women in impoverished societies, it lacks the focus and narrative momentum to sustain its admittedly brief running time.
    • 79 Metascore
    • 50 Frank Scheck
    The film doesn't really manage to sustain attention through its brief running time. But it is heartening to see that the filmmaker, now in his mid-80s, is as passionately engaged as ever.
    • 66 Metascore
    • 50 Frank Scheck
    Most of this is fairly predictable spoofing, and Englund is wasted as a psycho-hunting shrink clearly modeled after Donald Pleasence's character in "Halloween." But there are moments when the proceedings are unsettling and original.
    • 34 Metascore
    • 50 Frank Scheck
    The fairly routine plot is made somewhat more interesting by the infusion of issues regarding morality and faith, but ultimately Three, for all its philosophizing, is little more than a standard serial-killer movie with pretensions.
    • 55 Metascore
    • 50 Frank Scheck
    The filmmaker clearly has a gift for incisive characterizations and dialogue, but the overall impact of the vignettes is muted by an overall artificiality.
    • 49 Metascore
    • 50 Frank Scheck
    "Gift" comes across as a television-ready effort that would work perfectly for Hallmark.
    • 34 Metascore
    • 50 Frank Scheck
    Boasts nothing new under the sun, but it does provide a few decent scares.
    • 50 Metascore
    • 50 Frank Scheck
    Although more than a little familiar in its road movie-style romantic banter and bickering, the film is easy to take for a number of reasons, including the witty and frequently caustic dialogue. Modest in its aspirations, "Race You" succeeds by not trying to do too much.
    • 59 Metascore
    • 50 Frank Scheck
    Overlong and overstuffed with characters and situations, Ping Pong doesn't really succeed on a dramatic level. But there is no denying its skill in rendering its chosen milieu with an intense visual immediacy.
    • 65 Metascore
    • 50 Frank Scheck
    Whether outsiders will find much to appreciate in The TV Set is another question because the film fails to provide the thematic resonance of similarly themed predecessors like the brilliant "Network."
    • 49 Metascore
    • 50 Frank Scheck
    A static and awkward effort that never quite comes to life.
    • 36 Metascore
    • 50 Frank Scheck
    Bears more than a slight connection to the landmark of the genre, 1974's "Death Wish," starring Charles Bronson. It is based on novelist Brian Garfield's sequel to his original book, though any resemblance is tenuous at best.
    • 36 Metascore
    • 50 Frank Scheck
    No one will mistake director Alejandro Chomski's Feel the Noise for great drama. But there's an undeniable sweetness to the characters, the performers are highly appealing, and the music sizzles.
    • 70 Metascore
    • 50 Frank Scheck
    Ultimately, the film, for all its evident verisimilitude, never really demonstrates a compelling reason for being.
    • 54 Metascore
    • 50 Frank Scheck
    As has been previously demonstrated in the hugely successful Perry's stage, television and big-screen works, subtlety and tonal consistency are not his strong suits. Here, the mostly broadly drawn characters and situations on display quickly prove grating, with the film veering awkwardly between broad comedy and melodrama.
    • 36 Metascore
    • 50 Frank Scheck
    Director Darren Lynn Bousman, who also helmed the past two installments, doesn't deviate from the stylistic formula, which includes grinding industrial music, frenzied editing and a blue-gray color palette.
    • 33 Metascore
    • 50 Frank Scheck
    Christensen delivers a low-key performance that is ultimately quite appealing, and he's well matched by the beautiful Alba. Olin brings unexpected depths to what could have been a stock role, and Terrence Howard uses his easy ability to project innate decency to excellent effect.
    • 62 Metascore
    • 50 Frank Scheck
    Never really decides whether it wants to concentrate on providing information or sociological analysis, with the result that it fails to fully satisfy on either level.
    • 57 Metascore
    • 50 Frank Scheck
    Very much reminiscent of "Napoleon" in numerous ways only minus the wit, the film is made somewhat palatable by its inherent sweetness and its treatment of typical adolescent angst.
    • 39 Metascore
    • 50 Frank Scheck
    Unfortunately, as rendered here by the average-looking CGI effects, the characters are underwhelming in their appeal, lacking the charm of their previous animated incarnations.
    • 49 Metascore
    • 50 Frank Scheck
    Boasts an undeniable technical proficiency and historical authenticity, but this docudrama detailing assassin Mark David Chapman's obsession, stalking and eventual murder of the beloved Beatle nonetheless has an unavoidably exploitative feel.
    • 35 Metascore
    • 50 Frank Scheck
    While Stanford is more annoying than endearing as the self-righteous slacker, the charming Deschanel provides the film with its few moments of genuine fun with her offbeat turn as the wily, put-upon girlfriend.
    • 51 Metascore
    • 50 Frank Scheck
    Mitra, clad in the requisite tight, sexy outfits, conveys a suitable toughness but little in the way of personality, while such distinguished British actors as Bob Hoskins and Adrian Lester dutifully show up to collect their paychecks.
    • 45 Metascore
    • 50 Frank Scheck
    Features a fine performance by Angela Bassett, but her work is the sole subtle element.
    • 35 Metascore
    • 50 Frank Scheck
    Attempting to be this generation's "Risky Business," The Babysitters is the sort of ribald morality tale that manages to feel sleazy and decorous at the same time.
    • 47 Metascore
    • 50 Frank Scheck
    The film's chief asset is its superbly atmospheric evocation of its period milieu.
    • 69 Metascore
    • 50 Frank Scheck
    The sort of quirky independent comedy that strives for hipness but ultimately just feels contrived and derivative.
    • 74 Metascore
    • 50 Frank Scheck
    Sergei Bodrov's Mongol relates the story of Genghis Khan's early years in a plodding, uninspired fashion that doesn't bode well for the next two entries in a planned trilogy.
    • 53 Metascore
    • 50 Frank Scheck
    Oh, "Blair Witch," what hath thou wrought? It has taken less than a decade, but the concept of horror films filmed documentary-style has officially become a tiresome cliche.
    • 56 Metascore
    • 50 Frank Scheck
    Many of the film's most entertaining moments are, ironically, its most peripheral: Namely, the extensive archival clips of news conferences in which an alternately relaxed and tense Kennedy jostled with journalists