Frank Scheck

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The Hollywood Reporter
For 2,258 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 13.3 points lower than other critics. (0-100 point scale)

Frank Scheck's Scores

  • Movies
  • TV
Average review score: 52
Highest review score: 100 The Humans
Lowest review score: 0 The Haunting of Sharon Tate
Score distribution:
  1. Positive: 711 out of 2258
  2. Mixed: 1,112 out of 2258
  3. Negative: 435 out of 2258
2258 movie reviews
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    • 51 Metascore
    • 50 Frank Scheck
    Cleaner
    Director Campbell clearly knows his way around this sort of material, resulting in some tense, well-staged action sequences that make Cleaner reasonably diverting for its concise running time. But the film never achieves the heights of the classic actioners that clearly inspired it, and its overuse of familiar genre tropes (for once, can’t the main villain be uncharismatic, like so many in real life?) soon becomes wearisome.
    • 42 Metascore
    • 40 Frank Scheck
    Captain America: Brave New World
    Unfortunately, Captain America: Brave New World proves a lackluster Marvel entry that feels as if its complicated storyline has been painstakingly worked out without a shred of inspiration.
    • 34 Metascore
    • 40 Frank Scheck
    Love Hurts
    Straining for its ungainly combination of action, romance and silly comedy, Love Hurts doesn’t fully succeed in any department.
    • 61 Metascore
    • 60 Frank Scheck
    Heart Eyes
    The creatives’ obvious affinity for the genre comes through in every frame of the film, and to their credit Heart Eyes includes many clever touches.
    • 43 Metascore
    • 70 Frank Scheck
    Last Days
    Many viewers will no doubt feel initially disdainful of John’s recklessly dangerous pursuits, but the film presents his inner struggles so empathetically that by the end all you feel is sadness for a life tragically lost.
    • 66 Metascore
    • 80 Frank Scheck
    Dog Man
    The animation, too, is consistently delightful, densely crammed with visual gags and imaginative flourishes.
    • 51 Metascore
    • 40 Frank Scheck
    You're Cordially Invited
    Ferrell works hard, very hard, to put the material over, and to his credit, he occasionally succeeds by dint of his boundless comic energy. And Witherspoon, returning to the sort of broad comedy with which she triumphed in such films as Legally Blonde, matches him effectively with her sharp timing and appealing screen persona.
    • 38 Metascore
    • 50 Frank Scheck
    Flight Risk
    Flight Risk manages to deliver some high-altitude thrills in its breathlessly paced 91 minutes. But its clunky dialogue, uneven performances and less-than-grade-A special effects ultimately make it the Spirit Airlines of airborne thrillers.
    • 37 Metascore
    • 40 Frank Scheck
    Star Trek: Section 31
    [Yeoh] has such a commanding and darkly amusing screen presence that the pedestrian film can almost, but not quite, be forgiven for letting her down so completely.
    • 55 Metascore
    • 50 Frank Scheck
    Inheritance
    The gimmickry ultimately wears thin and you find yourself thinking less about the inventive way the scenes were shot . . . than the flimsy narrative.
    • 70 Metascore
    • 90 Frank Scheck
    Companion
    The tyro director steps up to the plate beautifully, delivering an ingenious, fast-paced horror-thriller that keeps you on the edge of your seat while also featuring generous doses of mordant humor.
    • 60 Metascore
    • 50 Frank Scheck
    Den of Thieves 2: Pantera
    Unfortunately, the superbly orchestrated car chase/shootout, taking place both in a tunnel and on winding mountain roads, occurs nearly two hours into this equally bloated sequel’s 144-minute running time. Until then, you spend a lot of time watching the characters luxuriate in the European settings via consuming copious amounts of croissants, gelato and tiny cups of coffee.
    • 56 Metascore
    • 70 Frank Scheck
    Sonic the Hedgehog 3
    Sonic the Hedgehog 3 gets the job done, and should provide entertaining diversion for families during the holiday season.
    • 73 Metascore
    • 70 Frank Scheck
    The Bibi Files
    The Bibi Files paints a damning portrait of its subject’s machinations to stay in power.
    • 54 Metascore
    • 80 Frank Scheck
    The Lord of the Rings: The War of the Rohirrim
    The battle sequences in particular are stunningly rendered, and will certainly benefit from being viewed on the largest possible premium and large-format screens.
    • 51 Metascore
    • 80 Frank Scheck
    The Six Triple Eight
    The Six Triple Eight relates a little-known story that fairly demanded to be told, and does it full justice.
    • 34 Metascore
    • 60 Frank Scheck
    Dear Santa
    It should hardly come as a revelation that Black’s hardworking comedic efforts are the film’s saving grace.
    • 66 Metascore
    • 60 Frank Scheck
    The Return
    Director/co-screenwriter Uberto Pasolini (Still Life, Nowhere Special) strips the tale to its bare essentials, resulting in a stark, solemnly paced experience that viewers will find either enervating or thrilling.
    • 34 Metascore
    • 60 Frank Scheck
    Uglies
    It’s all about as familiar-feeling as it sounds, but it goes down easily thanks to McG’s skillful, fast-paced direction, the imaginatively lavish CGI-enhanced visuals, and King’s impressive performance.
    • 36 Metascore
    • 50 Frank Scheck
    The Killer's Game
    That the film works to the extent that it does is largely due to the unique charms of its muscular leading man and the well staged, extremely brutal fight sequences featuring enough gore to test the boundaries of an R rating.
    • 65 Metascore
    • 80 Frank Scheck
    Transformers One
    Besides the raucous, de rigueur action sequences, Transformers One provides numerous witty jokes of both the verbal and visual variety and — surprise, surprise — genuine emotion. Consider this a franchise revitalized.
    • 45 Metascore
    • 40 Frank Scheck
    Greedy People
    Unfortunately, the proceedings become increasingly tiresome the more the characters are killed off, with the result that despite an impressive cast, the film comes to feel like a Coen brothers rip-off.
    • 44 Metascore
    • 70 Frank Scheck
    The Union
    The Union proves as entertaining as its Netflix algorithms would have predicted, balancing its impressive star wattage with lavish production values to remind viewers of the value of their monthly subscriptions.
    • 41 Metascore
    • 70 Frank Scheck
    Jackpot!
    It’s all tremendously silly but somehow it works, thanks to combat choreography that would make Jackie Chan proud and the introduction of America’s premiere new comedy team, Awkwafina and John Cena.
    • 71 Metascore
    • 70 Frank Scheck
    War Game
    However stilted War Game may feel cinematically, it registers with full force as a realistic depiction of a nightmarish scenario that could easily occur just a few months from now.
    • 34 Metascore
    • 50 Frank Scheck
    Harold and the Purple Crayon
    It’s hard not to wish that in the future, Harold will stick to the cartoon world where he belongs.
    • 66 Metascore
    • 50 Frank Scheck
    The Convert
    The Convert is uneven and doesn’t fully live up to its thematic ambitions. But it’s handsomely made and thankfully avoids falling victim to white savior syndrome.
    • 74 Metascore
    • 50 Frank Scheck
    Kill
    The fight scenes are extremely well choreographed, filmed and edited, but they’re so relentless in their non-stop pacing that the viewing experience becomes numbing.
    • 65 Metascore
    • 50 Frank Scheck
    Kalki 2898 AD
    Ultimately, for all its wildly entertaining elements, Kalki 2898 AD feels like too much of a good thing, resembling the sort of lavish buffet meal that leaves you feeling overstuffed and exhausted. But fans of this particular style of cinema are not likely to mind.
    • 53 Metascore
    • 30 Frank Scheck
    Fly Me to the Moon
    Veteran television director Greg Berlanti (Riverdale, Everwood), who demonstrated real cinematic talent with Love, Simon, is unable to make any of this remotely convincing or, more problematically, entertaining. The wild tonal shifts leave the viewer in the dust, and not even the two stars are able to make any of it work.
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