R. Kurt Osenlund
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For 59 reviews, this critic has graded:
  • 42% higher than the average critic
  • 5% same as the average critic
  • 53% lower than the average critic
On average, this critic grades 7.9 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: 27 out of 59
  2. Negative: 19 out of 59
59 movie reviews
    • 73 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 86 Metascore
    • 75 R. Kurt Osenlund
    In the film, Alexander Payne's overview of America is extraordinarily, multifariously profound.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 42 Metascore
    • 63 R. Kurt Osenlund
    One of its strengths is a knowledge of when to unfurl information, particularly for the strongest emotional effect.
    • 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.
    • 37 Metascore
    • 63 R. Kurt Osenlund
    It pairs modern attitude with John Hughesian tropes, and it's odd enough, in spurts, to boast originality.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.