R. Kurt Osenlund
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For 65 reviews, this critic has graded:
  • 41% higher than the average critic
  • 4% same as the average critic
  • 55% lower than the average critic
On average, this critic grades 6.9 points lower than other critics. (0-100 point scale)

R. Kurt Osenlund's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 100 Dear White People
Lowest review score: 0 Jobs
Score distribution:
  1. Positive: 31 out of 65
  2. Negative: 19 out of 65
65 movie reviews
    • 61 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 33 Metascore
    • 50 R. Kurt Osenlund
    The movie´╗┐ blasts by for a while as an odd and busy slice of highly watchable garbage.
    • 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.
    • 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.
    • 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.
    • 30 Metascore
    • 50 R. Kurt Osenlund
    Shana Feste's film seems blissfully unaware that great fights require truly substantial conflicts.
    • 41 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.
    • 89 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
    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.
    • 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.

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