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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    • 36 Metascore
    • 50 Frank Scheck
    Trigger Warning
    Unfortunately, despite everyone’s best efforts to deliver a femme-driven actioner revolving around a central character who comes across like a female Rambo, Trigger Warning, premiering on Netflix, proves distressingly familiar.
    • 41 Metascore
    • 30 Frank Scheck
    Longing
    Instead of being drawn in by Daniel’s spiral, we observe it from a distance. The result is that Longing, presumably intended as a cathartic meditation on grief, simply feels absurd.
    • 79 Metascore
    • 50 Frank Scheck
    Look Into My Eyes
    This is a documentary about psychics that make you think Ouija boards might be a better investment.
    • 54 Metascore
    • 40 Frank Scheck
    Bad Boys: Ride or Die
    Watching Will Smith’s Mike and Martin Lawrence’s Marcus go through their familiar comedic bickering routines has become like spending an evening with a long-married couple whose constant sniping has grown wearisome.
    • 31 Metascore
    • 50 Frank Scheck
    The Garfield Movie
    It all plays as routinely as you’d expect, making the film directed by Mark Dindal (The Emperor’s New Groove, Chicken Little) feel much longer than it is, at least for anyone over the age of 10.
    • 64 Metascore
    • 70 Frank Scheck
    Thelma the Unicorn
    For most of its running time, it’s a small-scale delight that balances quirky humor and heartfelt emotion to excellent effect.
    • 66 Metascore
    • 70 Frank Scheck
    The Blue Angels
    This is one film that’s definitely worth catching on the big screen.
    • 46 Metascore
    • 50 Frank Scheck
    IF
    There’s much here to appreciate, not least of which is the admirable attempt to simultaneously provide belly laughs for children and emotional resonance for adults. IF may be guilty of trying too hard, but it’s a refreshing change from so many family movies that barely seem to be trying at all.
    • 35 Metascore
    • 50 Frank Scheck
    Rebel Moon Part 2: The Scargiver
    Snyder provides an ample display of the visual flair and skill for action that have endeared him to legions of fans who exhibit so much dedication that they’re willing to sit through numerous versions of his films.
    • 62 Metascore
    • 70 Frank Scheck
    Abigail
    Breathlessly paced and filled with the sort of black humor that makes it as much a comedy as a horror film, Abigail is wildly entertaining for most of its running time, although it becomes overly burdened with baroque narrative flourishes.
    • tbd Metascore
    • 70 Frank Scheck
    Sweet Dreams
    That the film proves as affecting as it does is largely due to Knoxville’s understated, terrific performance that makes his character fully sympathetic despite his many flaws.
    • tbd Metascore
    • 50 Frank Scheck
    Damaged
    Indeed, the film’s main strength is not its overly familiar if convoluted plotting but rather the strong performances all around.
    • 55 Metascore
    • 50 Frank Scheck
    The Absence of Eden
    Fine performances and powerful visuals only partially compensate for the inevitable air of familiarity that accompanies Marco Perego’s debut feature.
    • 62 Metascore
    • 50 Frank Scheck
    Don't Tell Mom the Babysitter's Dead
    After its darkly comic set-up, the mild proceedings seem generally undercooked, lacking the subversiveness that could have given the remake a reason for being. It coasts along mainly on the charms of Jones, who displays considerable comic chops as the beleaguered Tanya.
    • 65 Metascore
    • 50 Frank Scheck
    The First Omen
    While the events in the first Omen seemed to be taking place in a real world that just happened to include demonic figures, this film seems more like a fever dream, its outlandish storyline taking a back seat to a nightmarish vision that’s more about mood than narrative coherence.
    • 45 Metascore
    • 30 Frank Scheck
    Sleeping Dogs
    Crowe himself, as usual, is the best thing in the film, once again upgrading less than optimal material with his indelible screen presence.
    • 47 Metascore
    • 50 Frank Scheck
    Godzilla x Kong: The New Empire
    Director Adam Wingard (reuniting with Stevens after the terrific 2014 thriller The Guest) orchestrates the monster madness with impressive visual flair even if he relies on an excessive number of ‘80s-era pop song needle drops to make things seem more exciting than they actually are.
    • 86 Metascore
    • 90 Frank Scheck
    The Truth vs. Alex Jones
    Tragically, The Truth vs. Alex Jones doesn’t deliver any closure. What it does provide is a disturbing reminder that the fight against evil will likely be never-ending.
    • 46 Metascore
    • 60 Frank Scheck
    Ghostbusters: Frozen Empire
    Nonetheless, Ghostbusters: Frozen Empire tries hard, very hard, to satisfy the series’ fans with plenty of nostalgic throwbacks and mainly succeeds.
    • 54 Metascore
    • 70 Frank Scheck
    Arthur the King
    Obviously, being a dog lover goes a long way toward one’s enjoyment of Arthur the King. But even if you’re not, you won’t be able to resist this canine thespian who manages to convey a world of information merely through barks. And he doesn’t even need those.
    • 34 Metascore
    • 50 Frank Scheck
    Imaginary
    Imaginary, which starts out as a relatively low-key suspenser with intriguing psychological depth, eventually succumbs to the inanities plaguing so many recent horror efforts (like the killer pool in the same company’s Night Swim).
    • 54 Metascore
    • 70 Frank Scheck
    Kung Fu Panda 4
    Many of the gags are either derivative or homages, depending on your perspective, including the vicious killer bunnies that bring to mind Monty Python and the Holy Grail. But that doesn’t make them any less funny.
    • 51 Metascore
    • 70 Frank Scheck
    Cabrini
    The film, which feels overlong at 145 minutes, suffers both from repetition and an over-reliance on melodramatic plot devices. But it nonetheless delivers a compelling portrait of a heroine whose story is too little-known.
    • 52 Metascore
    • 60 Frank Scheck
    Outlaw Posse
    It all feels quite silly, but Outlaw Posse manages to be fun anyway, thanks largely to the terrific ensemble of veteran character actors (including Neal McDonough and M. Emmet Walsh, making brief appearances) who fully embrace the film’s daffier qualities.
    • 57 Metascore
    • 70 Frank Scheck
    Ordinary Angels
    Swank makes it work with a canny performance that conveys her character’s inner turbulence, much of it derived from her troubled relationship with her estranged grown son.
    • 48 Metascore
    • 50 Frank Scheck
    Red Right Hand
    Red Right Hand doesn’t add anything particularly new to the well-worn genre. But it features enough bloody action sequences and shootouts to satisfy fans, who will be more likely to catch it on VOD than at drive-ins.
    • 57 Metascore
    • 60 Frank Scheck
    Land of Bad
    It’s Crowe who’s the film’s MVP.
    • tbd Metascore
    • 70 Frank Scheck
    God & Country
    What it doesn’t provide, unfortunately, is a persuasive prescription for how we’re going to prevent our country from descending from democracy to theocracy.
    • 72 Metascore
    • 80 Frank Scheck
    Orion and the Dark
    Hilariously and movingly tapping into typical childhood anxieties, it’s infused with ample wit of both the visual and verbal variety for adults.
    • 55 Metascore
    • 70 Frank Scheck
    The Tiger's Apprentice
    The powerhouse voice cast is another plus; besides the aforementioned, it includes Lucy Liu, Bowen Yang, comedian Jo Koy and Greta Lee (Past Lives), among others. Director Raman Hui, making his feature debut, keeps the proceedings moving at a suitably brisk pace, with the colorful CGI animation providing one diverting image after another.
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