R. Kurt Osenlund

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For 73 reviews, this critic has graded:
  • 43% higher than the average critic
  • 6% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 8.1 points lower than other critics. (0-100 point scale)

R. Kurt Osenlund's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 Dear White People
Lowest review score: 0 Jobs
Score distribution:
  1. Positive: 36 out of 73
  2. Negative: 19 out of 73
73 movie reviews
    • 59 Metascore
    • 63 R. Kurt Osenlund
    The film's chief misstep is taking its title too literally, and ultimately depicting Louie as an indestructible, and thus largely inhuman, superhero.
    • 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.
    • 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.
    • 74 Metascore
    • 63 R. Kurt Osenlund
    The film's empowering themes of feminine strengths and bonds eventually flourish in novel fashion.
    • 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.
    • 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.
    • 88 Metascore
    • 50 R. Kurt Osenlund
    It places regurgitated ideas into the mouths of gifted actors, then drops them amid a kooky story that plays like an elaborate distraction from what little the film actually has to say.
    • 50 Metascore
    • 50 R. Kurt Osenlund
    Mothers and sons deserve an amiable comedy they can share, but this one proves to be faulty long before the requisite freeway breakdown.
    • 68 Metascore
    • 50 R. Kurt Osenlund
    Outside of Felicity Jones's work, the film, directed and co-written by Drake Doremus, usually feels like it's soullessly connecting dots, a far cry from the Before Sunrise-style substance its Yank-meets-Euro chattiness might suggest.
    • 57 Metascore
    • 50 R. Kurt Osenlund
    This frothy 3D concert doc often plays like a Perry ad campaign, assuring viewers that their "Teenage Dream" diva is a good, fun-loving person, and that, by God, she's doing fine.
    • 30 Metascore
    • 50 R. Kurt Osenlund
    Shana Feste's film seems blissfully unaware that great fights require truly substantial conflicts.
    • 52 Metascore
    • 50 R. Kurt Osenlund
    No matter how much Bertrand Bonello varies his split screens, triptychs, and geometric screen divisions, he forgets that one of the most fashionable virtues is knowing when to leave.
    • 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.
    • 77 Metascore
    • 50 R. Kurt Osenlund
    Writer-director Paul Weitz's proudly boisterous star vehicle for Lily Tomlin has about as many ambitions as it does delusions.
    • 50 Metascore
    • 50 R. Kurt Osenlund
    James Franco's general aesthetic is ugly and ambling, not so much because of its brownish-gray monochrome, but because it registers like the jerky result of a college kid wielding a DV cam.
    • 55 Metascore
    • 50 R. Kurt Osenlund
    Viewer/character solidarity only holds up for so long, and the film falls hard into twisty, nonsense territory, skipping over its stronger themes in the process.
    • 66 Metascore
    • 50 R. Kurt Osenlund
    Sofia Coppola seems curiously unmotivated to bring full analysis or provocation to her themes, leaving the film feeling like a disappointingly toothless satire.
    • 39 Metascore
    • 50 R. Kurt Osenlund
    The film gradually reveals a lot of unsavory motives, which ultimately deflate the buoyant virtues on which the film had blithely coasted.
    • 66 Metascore
    • 50 R. Kurt Osenlund
    A once-precious franchise's weakest installment, which forgets these adventures' magic was never conjured by bells and whistles.
    • 41 Metascore
    • 50 R. Kurt Osenlund
    Not even when the doomed Juliet reaches for Romeo's dagger do you feel a single vicarious pain in your gut.
    • 81 Metascore
    • 50 R. Kurt Osenlund
    It doesn't play like reality, but like boilerplate filmic fantasy, and its novel setting and inception struggles seem positioned as a beard--or veil, if you will--to mask its mediocrity.
    • 33 Metascore
    • 50 R. Kurt Osenlund
    The movie´╗┐ blasts by for a while as an odd and busy slice of highly watchable garbage.
    • 46 Metascore
    • 50 R. Kurt Osenlund
    Jamie Dornan somehow manages to render his sculpted beauty moot, which throws a major wrench in the gears for a film dependent on eroticism.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.

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