R. Kurt Osenlund
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For 63 reviews, this critic has graded:
  • 42% higher than the average critic
  • 4% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 7.2 points lower than other critics. (0-100 point scale)

R. Kurt Osenlund's Scores

  • Movies
  • TV
Average review score: 52
Highest review score: 100 Dear White People
Lowest review score: 0 Jobs
Score distribution:
  1. Positive: 29 out of 63
  2. Negative: 19 out of 63
63 movie reviews
    • 58 Metascore
    • 38 R. Kurt Osenlund
    Its dolly- and crane-operated polish points toward an acquiescence to Tinseltown mores, which until now Baron Cohen hovered cheekily above.
    • 36 Metascore
    • 38 R. Kurt Osenlund
    Nearly a year has passed since the release of Catherine Hardwicke's Red Riding Hood, and Amanda Seyfried is still crying wolf.
    • 37 Metascore
    • 38 R. Kurt Osenlund
    The movie, of course, barrels toward climax upon climax, and while possibly better photographed, the crashes, bangs, and booms are no less numbing than anything else you've seen in this summer of garbage blockbusters.
    • 56 Metascore
    • 38 R. Kurt Osenlund
    We may have all wanted to know the story behind those famed horns, but the mystery was far preferable to having Maleficent de-fanged and de-clawed in the process.
    • 49 Metascore
    • 38 R. Kurt Osenlund
    The film is guilty of some of the same quick judgment it clearly doesn't endorse, exploiting Julian Assange's unmistakable appearance to help give itself a boogeyman.
    • 36 Metascore
    • 38 R. Kurt Osenlund
    Its obsession with male genitalia, or, more specifically, penis receptacles, is emblematic of its overall aura of male entitlement and its consideration of women as prizes to be lanced.
    • 22 Metascore
    • 25 R. Kurt Osenlund
    One for the Money is like The Bounty Hunter by Andy Tennant, if you dipped it in self-tanner and strapped some Four Loko on it.
    • 53 Metascore
    • 25 R. Kurt Osenlund
    If Robert De Niro knew what was good for him, he'd certainly distance himself from this director and find a new path.
    • 52 Metascore
    • 25 R. Kurt Osenlund
    Roland Emmerich makes love of country into a thing of unabashed hokum, which bleeds through every nook of this overstuffed jumble and leaves no character untouched.
    • 22 Metascore
    • 25 R. Kurt Osenlund
    Though always speeding forward in some gear of ridiculousness, the film is a lot more fun when it's completely nonsensical, before its baddie's motives and harebrained plot are funnel-fed to the viewer.
    • 39 Metascore
    • 25 R. Kurt Osenlund
    The film feels second-rate in every sense, from the quality of its animation to its C-list voice cast.
    • 57 Metascore
    • 25 R. Kurt Osenlund
    Part end-of-life romance, part grossly manipulative mush, the film tries to stare grief and mortality in the face while practically shitting rainbows.
    • 39 Metascore
    • 25 R. Kurt Osenlund
    Shockingly, the violent release of smoke, fire, and meteoric debris is positioned more as a climactic afterthought than as the main attraction.
    • 53 Metascore
    • 25 R. Kurt Osenlund
    An angry indie that favors hollow ridicule over credibility.
    • 37 Metascore
    • 25 R. Kurt Osenlund
    So deadly serious and yet so goofily unbound that, in some scenes, incest truly seems like it's on the scandalous menu.
    • 51 Metascore
    • 12 R. Kurt Osenlund
    This epic waste of $190 million plunders the grab bag of overused plotlines, failing to put its own stamp on much of anything.
    • 39 Metascore
    • 12 R. Kurt Osenlund
    I'll tell you what's insane: the probability that folks will go easy on this dreck because it's aimed at younger viewers, who are being distressingly trained to expect little from their art.
    • 54 Metascore
    • 12 R. Kurt Osenlund
    A choppy, feature-length progression of crude, predictable gags, the film plays like a variety show, and yet its main attraction is barely funny enough to warrant his own brief sketch.
    • 44 Metascore
    • 0 R. Kurt Osenlund
    Steered by a lead actor and director, Joshua Michael Stern, who are both way out of their respective leagues, Jobs is excruciating, failing to entertain and all but pissing on its subject's grave.

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