Terry Sherwood

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Film Threat
For 7 reviews, this critic has graded:
  • 85% higher than the average critic
  • 0% same as the average critic
  • 15% lower than the average critic
On average, this critic grades 14.4 points higher than other critics. (0-100 point scale)

Terry Sherwood's Scores

  • Movies
  • TV
Average review score: 80
Highest review score: 90 An Officer and a Spy
Lowest review score: 70 Crumb Catcher
Score distribution:
  1. Positive: 7 out of 7
  2. Mixed: 0 out of 7
  3. Negative: 0 out of 7
7 movie reviews
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    • 85 Metascore
    • 80 Terry Sherwood
    The Serpent's Skin
    At its core, the film is a possession romance, a story with a familiar structure of enticing evil that transcends the particulars of sexuality or subcultural framing. Full view here demonstrates, perhaps more clearly, that this is obsession, desire, and corruption in a world that some people can relate to as a newcomer in a new life and clubs scene.
    • tbd Metascore
    • 80 Terry Sherwood
    1000 Women in Horror
    Anyone with an interest in horror can appreciate it; its primary audience is unmistakable: women who love the genre, who see themselves reflected in it, and who continue to push it forward.
    • 75 Metascore
    • 80 Terry Sherwood
    Influencers
    Visually sumptuous and brilliantly filled with black humour, Influencers doesn’t pretend to be a healthy genre film. It’s cinematic satiric fun on the level of a Punch and Judy show.
    • 57 Metascore
    • 70 Terry Sherwood
    Crumb Catcher
    The picture is a wonderful example of social horror, fear of strangers who are not what they seem, worth a look for the production values well used, and the committed actors.
    • 60 Metascore
    • 90 Terry Sherwood
    An Officer and a Spy
    Roman Polanski’s J’Accuse, released internationally as An Officer and a Spy, is a brilliant exercise in controlled storytelling, visual discipline, and moral searching.
    • 79 Metascore
    • 90 Terry Sherwood
    Ju Dou
    The film uses voyeurism, knowing exposure turns desire into a visual battleground. To look is to risk punishment; to be seen is to invite destruction.
    • 64 Metascore
    • 70 Terry Sherwood
    Nadja
    Nadja succeeds most when embracing its lineage, those visual echoes of Universal and Hammer Studios, with the visual weight borrowed from European art horror, yet falters when maintaining cool distance from material that demands a stronger commitment

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