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
    • 79 Metascore
    • 100 R. Kurt Osenlund
    Like the movie itself, every character is a beautiful swirl of contradictions.
    • 86 Metascore
    • 88 R. Kurt Osenlund
    Steven Spielberg's film may further the heroism so associated with its subject, and favor a liberal viewpoint that leers down at the Confederates, but it's no bleeding-heart glamorization.
    • 77 Metascore
    • 88 R. Kurt Osenlund
    Beautiful, poetic, and hard-hitting without the use of excessive force and deeply layered with evolving and regional nuances of feminine experience
    • 56 Metascore
    • 88 R. Kurt Osenlund
    The near-imperceptible finesse of Abby's characterization reflects writer-director Stacie Passon's effortless, interesting mix of richness and economy.
    • 81 Metascore
    • 88 R. Kurt Osenlund
    Of Bennett Miller's many directorial feats, his canniest is his depiction of the precariousness of bonds, and how those bonds can shift, drastically yet almost imperceptibly.
    • 67 Metascore
    • 75 R. Kurt Osenlund
    The Hunger Games is more notable for the holes it doesn't fall into than the great heights it reaches.
    • 67 Metascore
    • 75 R. Kurt Osenlund
    Succeeds as a satirical fantasy about writerly self-involvement, but it's worth celebrating as a testament to self-made greatness, particularly in regard to the efforts of writer/star Zoe Kazan.
    • 35 Metascore
    • 75 R. Kurt Osenlund
    Melissa McCarthy is riveting in simply-penned moments of remorse and confession, adding tearful depth to her ace timing and formidable physical comedy.
    • 73 Metascore
    • 75 R. Kurt Osenlund
    Both keenly calculated and flowing with offbeat, naturalistic detail, Hanif Kureishi's jewel of a script reflects his sensibilities as a playwright.
    • 86 Metascore
    • 75 R. Kurt Osenlund
    In the film, Alexander Payne's overview of America is extraordinarily, multifariously profound.
    • 54 Metascore
    • 75 R. Kurt Osenlund
    Superhero movies aren't going anywhere, nor is their standard, on-to-the-next-fight structure, so it's heartening to see a gem that grandly and amusingly fills in the blanks.
    • 53 Metascore
    • 75 R. Kurt Osenlund
    Books themselves become the story's key symbol, representing the past and future, loss and possibility, of a place that's ground zero for some of history's darkest days.
    • 63 Metascore
    • 75 R. Kurt Osenlund
    What this movie finally boils down to is a deceptively simple tale of two brothers, and of being one's brother's keeper, and of seeking justice on the crudest of fronts.
    • 57 Metascore
    • 75 R. Kurt Osenlund
    In keeping his actors on his sober-yet-buoyant plane, Kenneth Branagh presents a convincing romance that doesn't stall the film's brisk clip.
    • 75 Metascore
    • 75 R. Kurt Osenlund
    The film boldly raises the unanswerable question of whether it's better for an artist to safely isolate his work or tweak it a bit so as to share it with the world.
    • 55 Metascore
    • 63 R. Kurt Osenlund
    With the foul-mouthed dramedy Friends with Kids, writer/producer/director/star Jennifer Westfeldt is juggling so much, it's a wonder there aren't more jokes about balls.
    • 55 Metascore
    • 63 R. Kurt Osenlund
    Liberal Arts provides a peek into what makes Josh Radnor tick, and what he cares about outside his mainstream-targeted sitcom.
    • 42 Metascore
    • 63 R. Kurt Osenlund
    One of its strengths is a knowledge of when to unfurl information, particularly for the strongest emotional effect.
    • 37 Metascore
    • 63 R. Kurt Osenlund
    It pairs modern attitude with John Hughesian tropes, and it's odd enough, in spurts, to boast originality.
    • 67 Metascore
    • 63 R. Kurt Osenlund
    The script is teeming with informed jargon about the business of supermarket pricing, and with actors like Posey as its vessel, the dialogue rings with an unlikely blend of fascination and farce.
    • 52 Metascore
    • 63 R. Kurt Osenlund
    Characters are better employed; emotions are, for once, palpable; and the selfishness of Bella, author Stephenie Meyer's avatar, is finally somewhat squelched.
    • 52 Metascore
    • 63 R. Kurt Osenlund
    LUV
    As a film that largely works as a subdued twist on the familiar drama about crime and family, LUV needed more intimacy and focus.
    • 58 Metascore
    • 63 R. Kurt Osenlund
    As a film about social issues, and simply being yourself, it's commendably progressive, going so far as serving as a kind of coming-out story.
    • 60 Metascore
    • 63 R. Kurt Osenlund
    This may be the year's best superhero movie because, for a sufficient amount of time, it doesn't feel like a superhero movie at all.
    • 82 Metascore
    • 63 R. Kurt Osenlund
    There's tremendous dramatic value to the aching and sometimes devastating scenes that home in on these kids' private torments.
    • 74 Metascore
    • 63 R. Kurt Osenlund
    The film's empowering themes of feminine strengths and bonds eventually flourish in novel fashion.
    • 82 Metascore
    • 63 R. Kurt Osenlund
    All told, there's an ageless warmth to The LEGO Movie akin to that of the LEGO brand itself.
    • 56 Metascore
    • 63 R. Kurt Osenlund
    The latest collaboration between director Jaume Collet-Serra and star Liam Neeson is made with far more care and visual detail than you might expect.
    • 52 Metascore
    • 63 R. Kurt Osenlund
    David Frankel crams his story with predictable developments, yet he matches his subject in spirit, pushing something into the spotlight that, however unlikely, elicits irresistible glee.
    • 31 Metascore
    • 50 R. Kurt Osenlund
    This Means War seems so concerned with being the best product, it doesn't even know how to be good trash.

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