For 1,074 reviews, this critic has graded:
  • 48% higher than the average critic
  • 5% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 8.9 points lower than other critics. (0-100 point scale)

Frank Scheck's Scores

  • Movies
  • TV
Average review score: 51
Highest review score: 100 Big Bad Wolves
Lowest review score: 0 Material Girls
Score distribution:
1,074 movie reviews
    • tbd Metascore
    • 50 Frank Scheck
    So muted and internal in its focus that its entire running time feels like a preamble to a drama that never quite begins.
    • 59 Metascore
    • 50 Frank Scheck
    Part concert film, part narrative, it isn't fully successful on either level, coming across more like an overlong DVD extra than a fully stand-alone work.
    • 30 Metascore
    • 50 Frank Scheck
    It might well be time for a creative rebooting; the freshness, if not the viscera, has begun to strongly diminish.
    • 49 Metascore
    • 50 Frank Scheck
    An odd little comedy drama set in Ireland that boasts more onscreen talent than it deserves.
    • 24 Metascore
    • 50 Frank Scheck
    Berenger uses his weathered visage and trademark intensity to good effect, but his efforts are undercut by the overwhelmingly cliched script.
    • 61 Metascore
    • 50 Frank Scheck
    It's a measure of the times that the new version of The Karate Kid manages to be longer and bigger-budgeted than the original while having lesser impact.
    • 52 Metascore
    • 50 Frank Scheck
    An Argentine comedy that, despite some interestingly offbeat moments, is unlikely to reach much commercial traction on these shores.
    • 66 Metascore
    • 50 Frank Scheck
    Family dysfunction has proved a rich resource for documentary filmmakers in recent years, but "October" lacks the narrative drive and emotional resonance of such examples of the genre as "Tarnation" and "Capturing the Friedmans."
    • 49 Metascore
    • 50 Frank Scheck
    Suffers from an awkward, plodding structure that robs it of much of its dramatic effect.
    • 47 Metascore
    • 50 Frank Scheck
    A dramatic story, to be sure, but not exactly grippingly told by its first-time filmmaker.
    • 58 Metascore
    • 50 Frank Scheck
    Reveals a definite been-there, done-that feeling.
    • 57 Metascore
    • 50 Frank Scheck
    A would-be provocative satire that too often settles for sitcom-grade silliness, The Infidel represents an opportunity wasted.
    • 47 Metascore
    • 50 Frank Scheck
    If there's one defining characteristic among English criminals, it's that they apparently are a quirky lot. That, at least, is the conclusion one draws from the endless series of comically tinged British crime thrillers that have come down the pike during recent years, of which the mediocre Perrier's Bounty is the latest example.
    • 48 Metascore
    • 50 Frank Scheck
    Features a profusion of provocative ideas and a wealth of vintage film clips but is unable to avoid having the inevitable feel of a college thesis.
    • 56 Metascore
    • 50 Frank Scheck
    Spoken Word, which centers on the tense reunion between a recovering addict poet and his dying father, features more cliches than it can comfortably handle and is not helped by its grindingly slow pacing.
    • 43 Metascore
    • 50 Frank Scheck
    Although well-meaning in its attempt to dramatize the stigma the subject evokes in the South Asian American community, Hiding Divya ultimately falters in its execution.
    • tbd Metascore
    • 50 Frank Scheck
    A faux black-and-white silent film that will gain immeasurably from its road show presentations, Louis is more of a novelty than a satisfying cinematic experience.
    • 59 Metascore
    • 50 Frank Scheck
    The next time you're invited to a French dinner party, you might want to give it a pass, if the tedious proceedings in Change of Plans are any indication.
    • 58 Metascore
    • 50 Frank Scheck
    Like the source material, it's ultimately less than the sum of its parts -- an assemblage of moderately interesting human interest stories that don't carry much weight on the big screen.
    • 53 Metascore
    • 50 Frank Scheck
    Anyone who has seen the original knows exactly where things are heading, with the result that the proceedings seem far more manipulative than unnerving.
    • 61 Metascore
    • 50 Frank Scheck
    How much of this you'll find enlightening and how much simply creepy will depend on your tolerance for cinematic navel-gazing.
    • 66 Metascore
    • 50 Frank Scheck
    The widely heralded musical auteur deserves a more insightful documentary treatment than the one afforded in Strange Powers: Stephin Merritt and the Magnetic Fields.
    • 24 Metascore
    • 50 Frank Scheck
    This seventh installment does at least provide a reasonably satisfying conclusion to the series in the unlikely event they choose to give it a rest.
    • 33 Metascore
    • 50 Frank Scheck
    Never quite achieves the balance of melodrama and dark comedy for which it's aiming.
    • 23 Metascore
    • 50 Frank Scheck
    Managing nary a single original idea throughout its 93-minute running time, the film does benefit from a cast of sexy young TV stars who should attract the desired female teen demographic.
    • 42 Metascore
    • 50 Frank Scheck
    Part murder mystery, part dysfunctional family drama and part meditation on the elusiveness of the American dream, Motherland doesn't fully succeed on any of its levels.
    • tbd Metascore
    • 50 Frank Scheck
    More stylishly filmed than many others of its ilk, but at the end of the day, is just an ordinary slasher film.
    • 70 Metascore
    • 50 Frank Scheck
    That the film works to the degree that it does is largely due to the sensitive performances. Bonnaire delivers a beautifully modulated turn.
    • 27 Metascore
    • 50 Frank Scheck
    Not even the estimable comic chops of Hugh Grant and Sarah Jessica Parker can lift it above the level of ordinary.

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