For 180 reviews, this critic has graded:
  • 27% higher than the average critic
  • 8% same as the average critic
  • 65% lower than the average critic
On average, this critic grades 2.2 points lower than other critics. (0-100 point scale)

Pat Brown's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Come and See
Lowest review score: 12 Force of Nature
Score distribution:
  1. Negative: 34 out of 180
180 movie reviews
    • 87 Metascore
    • 75 Pat Brown
    The Tsugua Diaries is something like Memento for an age of isolation and listlessness.
    • 75 Metascore
    • 75 Pat Brown
    The film fiercely homes in at the moral perversity of an industry at a particular intersection of capitalism, patriarchy, and digital-age spectacle.
    • 83 Metascore
    • 75 Pat Brown
    The film oscillates between the playfully on the nose and the existentially profound with the confidence of a volcano chaser surfing on a river of lava.
    • 83 Metascore
    • 75 Pat Brown
    Implicit in the film’s bleak but sympathetic portrait of a disturbed and shunned young man is that sometimes it takes a village to make a monster.
    • 66 Metascore
    • 50 Pat Brown
    For all of the film’s somberness, its depiction of an era of rigid class divisions and incalculable loss still comes through the hazy, soft-focus goggles of nostalgia.
    • 83 Metascore
    • 63 Pat Brown
    After a first hour that may well hit Zoomers and their millennial parents in the feels, Turning Red gradually runs out of steam.
    • 45 Metascore
    • 38 Pat Brown
    After a brilliantly constructed opening, Dario Argento’s film gives the impression only of a giallo doodle.
    • 81 Metascore
    • 88 Pat Brown
    The film fleshes out the perhaps familiar characterizations at its center by tying contemporary wounds to the persistent presence of Europe’s ugly history.
    • 81 Metascore
    • 63 Pat Brown
    Peter Strickland’s playful mockery of performance art and excessively serious-minded “collectives” feels both insular and, at times, a shade too flavorless.
    • 47 Metascore
    • 75 Pat Brown
    The film goes from biting satire to broad farce and back as Alain Guiraudie fills it with both social observation and ludicrous incident.
    • 65 Metascore
    • 88 Pat Brown
    A heady rush of ideas, the film’s avant-garde mélange of live-action footage, abstract video art, and multiple kinds of animation just barely masks that it’s a rather simple story about a Zoomer’s inner struggle with both her own mortality and that of the world.
    • 74 Metascore
    • 88 Pat Brown
    The studied ambiguity of what’s going on in Fire doesn’t keep it from often achieving the suspense of an accomplished erotic thriller.
    • tbd Metascore
    • 75 Pat Brown
    Small, Slow But Steady is one of the first great pandemic movies because it reflects the lessons about mutual support and communal perseverance that we should be taking from very familiar pandemic struggles.
    • 87 Metascore
    • 63 Pat Brown
    As a tribute to farmers’ way of life, its effective and at times moving, but as an exposé of the potential losses that a business-centric green revolution is in the process of incurring, it wants for a stiffer punch.
    • tbd Metascore
    • 50 Pat Brown
    Leonora Addio is a wrestling with memory and history through a deeply personal, if at times indulgent, lens.
    • tbd Metascore
    • 63 Pat Brown
    Cyril Schäublin’s precisely framed snapshot of a microcosm of timekeepers ends up being a bit too, well, mechanical.
    • 75 Metascore
    • 75 Pat Brown
    Strawberry Mansion playfully and delightfully draws parallels between the creative agency of dreams and the waking creativity of filmmaking.
    • 79 Metascore
    • 88 Pat Brown
    The film extend into impactful hyperbole the tensions inherent in the situation of being subjects of and subjects to incessant surveillance.
    • 83 Metascore
    • 75 Pat Brown
    The material realities of being a woman in Chad are expressed with profound sympathy in Mahamat-Saleh Haroun’s film.
    • 60 Metascore
    • 50 Pat Brown
    It’s at a certain point toward the finale that this Scream becomes almost as drearily repetitious as the reboot culture that it skewers.
    • 78 Metascore
    • 63 Pat Brown
    Long stretches of the film are simply mesmerizing, but both Sylvain Tesson’s written compositions and the conversation between him and Vincent Munier often lapse into clichés about the distractions and decadence of modern society.
    • 52 Metascore
    • 25 Pat Brown
    The film misplaces the root of our current existential dilemma, then covers it with tepid droll comedy and clunky melodrama.
    • 63 Metascore
    • 38 Pat Brown
    The film’s approach is completely subsumed by the importance of the Mayor Pete persona as the means and ends of the candidacy.
    • 49 Metascore
    • 25 Pat Brown
    Matthias Schweighöfer’s film puts itself in a box, consistently failing to justify why its story deserves our attention more than the spectacle of the recently deceased rising to feast upon the flesh of the living.
    • 80 Metascore
    • 75 Pat Brown
    Juho Kuosmanen’s film interestingly thrives off of an ironic juxtaposition of character and environment.
    • 82 Metascore
    • 75 Pat Brown
    Merciless but affecting, Vortex suggests that one respite from the loneliness of life lived in the shadow of death is the realm of dreams.
    • 91 Metascore
    • 100 Pat Brown
    Again in a Apichatpong Weerasethakul film, we find spirits lurking behind the everyday world, but in Memoria, they might just be repressed memories emanating from a world that never actually forgets.
    • 58 Metascore
    • 38 Pat Brown
    The film’s evocative imagery doesn’t compensate for the story being told with such a heavy hand that it dulls, rather than sharpens, Justin Chon’s urgent political message.
    • 90 Metascore
    • 88 Pat Brown
    The film may be the prime example of how to restore fun, significance, and even a little bit of sex to the well-worn terrain of the romantic comedy.
    • 76 Metascore
    • 88 Pat Brown
    Sean Baker is dedicated at the same time to the material realities of being poor in the United States and to the irreverent artificiality of snap zooms, smash cuts, and unexpected music cues.

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