For 1,648 reviews, this critic has graded:
  • 47% higher than the average critic
  • 6% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 12.4 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 Exists
Score distribution:
1648 movie reviews
    • 27 Metascore
    • 30 Frank Scheck
    Such an utterly routine, formulaic and forgettable example of its genre that watching it becomes an exercise in endurance. Even the always welcome presence of veteran actor William Fichtner, terrific as usual, isn't enough to save it.
    • tbd Metascore
    • 30 Frank Scheck
    Hospitality is the sort of film that looks like a thriller, feels like a thriller and essentially plays out like a thriller. The only thing it forgets to do is provide any actual thrills.
    • 58 Metascore
    • 50 Frank Scheck
    Nothing in the proceedings rings remotely true unless you've been weaned on a steady diet of soulful hit men movies. But the film works to some degree anyway thanks to the terrific performance by Perlman, who infuses the title character with a compelling, world-weary gravitas.
    • 44 Metascore
    • 40 Frank Scheck
    DriverX, which has the style but not the substance of a strong '70s indie drama, stalls out quickly and goes nowhere interesting.
    • 44 Metascore
    • 30 Frank Scheck
    Aiming for charm but instead coming across as hopelessly forced, Swimming With Men barely manages to stay afloat.
    • 42 Metascore
    • 50 Frank Scheck
    While Back Roads doesn't live up to its considerable dramatic and thematic ambitions, it provides a strong opportunity for its filmmaker/star to stretch his dramatic muscles in the lead role.
    • 37 Metascore
    • 50 Frank Scheck
    Doesn't bring anything new to its very tired genre.
    • tbd Metascore
    • 30 Frank Scheck
    Strictly for the most obsessive fans of the series, The Gilligan Manifesto mainly demonstrates the pitfalls of intellectuals having too much time on their hands.
    • 38 Metascore
    • 40 Frank Scheck
    The chief saving grace of Elliot: The Littlest Reindeer is its auspicious voice cast including Josh Hutcherson, Samantha Bee, John Cleese and Martin Short, among others.
    • 38 Metascore
    • 30 Frank Scheck
    Attempting to be a cautionary tale for the Airbnb era, the pic squanders its potential with ham-fisted execution.
    • 63 Metascore
    • 70 Frank Scheck
    Family in Transition stands out both for the particularities inherent in its setting and the deeply sympathetic individuals at its center.
    • 42 Metascore
    • 60 Frank Scheck
    Although Postcards From London ultimately doesn't quite live up to its considerable ambitions, it offers plenty of arresting moments along the way.
    • 26 Metascore
    • 40 Frank Scheck
    River Runs Red is neither substantive nor thrilling enough to prove satisfying.
    • 51 Metascore
    • 60 Frank Scheck
    While it offers more style than substance, Bullitt County delivers an engrossing tale with enough twists to satisfy thrill-loving audiences. If anything, it offers too many twists, proving unable to live up to its considerable narrative ambitions.
    • 44 Metascore
    • 70 Frank Scheck
    Pimp is an engrossing melodrama that could easily have played to enthusiastic grindhouse audiences in the 1970s.
    • tbd Metascore
    • 70 Frank Scheck
    A solid ensemble, including many acting veterans, manages to make the film, on which Bobby Farrelly served as one of the executive producers, a diverting holiday comedy.
    • 71 Metascore
    • 60 Frank Scheck
    The Reckoning: Hollywood's Worst Kept Secret is generally effective as a fast-paced primer on the sexual harassment scandals that have swept show business in the last year but doesn't really add much to the story that we don't already know.
    • 58 Metascore
    • 70 Frank Scheck
    Gleefully gory and darkly funny, Monster Party is the sort of extreme genre exercise that separates real fans from mere dilettantes.
    • 43 Metascore
    • 40 Frank Scheck
    It runs a little longer than two hours, but feels more like two tours of duty. And it has enough plot elements to fuel an armful of Tom Clancy novels but somehow manages to make none of them interesting.
    • tbd Metascore
    • 30 Frank Scheck
    There's nothing inherently wrong with agitprop cinema, of which this is a prime example. But passion and righteousness are not enough to make a satisfying film. Cohesion and rational arguments are necessary as well.
    • 43 Metascore
    • 50 Frank Scheck
    For all its effective atmospherics and performances, Don't Go has an inevitably familiar feel.
    • 47 Metascore
    • 60 Frank Scheck
    The Super isn't distinctive enough to make it stand out amongst the glut of urban-set horror films. But it is chilling enough to make glass-walled, modern high-rises a lot more appealing.
    • 26 Metascore
    • 30 Frank Scheck
    Depicting the effects of a mysterious, ethereal stranger on the residents of a small town, Change in the Air proves frustrating and dull for most of its running time, displaying unwarranted confidence in its ability to cast a spell.
    • tbd Metascore
    • 70 Frank Scheck
    For all its effective camerawork and editing, the film can't fully convey the experience of seeing its subject in person. But it certainly provides more than enough motivation for making every effort to do so.
    • 67 Metascore
    • 80 Frank Scheck
    It's the hugely appealing White and Monroe who authoritatively carry the film, mining the material for all its pathos and humor and displaying the sort of chemistry more often aspired to than achieved in romantic films. They make it look easy, as do the talented filmmakers.
    • 60 Metascore
    • 50 Frank Scheck
    The film is most effective in its quieter moments.
    • 31 Metascore
    • 30 Frank Scheck
    I Still See You is painful to watch, and having to learn all the new jargon only makes it feel like an academic chore.
    • 53 Metascore
    • 50 Frank Scheck
    Although it provides a fair number of mild scares and laughs, Goosebumps 2: Haunted Halloween feels more like a kiddie film than did the original.
    • 62 Metascore
    • 60 Frank Scheck
    The film suffers from overly melodramatic plotting in the final act that feels contrived. It's far more effective in its quieter, more observational moments.
    • 74 Metascore
    • 80 Frank Scheck
    A Crooked Somebody is smarter than the usual thriller.

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