Carson Lund

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Slant Magazine
For 140 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 0 points lower than other critics. (0-100 point scale)

Carson Lund's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 The Forbidden Room
Lowest review score: 12 Old Fashioned
Score distribution:
  1. Positive: 97 out of 140
  2. Mixed: 24 out of 140
  3. Negative: 19 out of 140
140 movie reviews
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    • 81 Metascore
    • 88 Carson Lund
    Ray & Liz
    Ray & Liz generates pathos through its detailed attention to its characters' attempts to find permanence and meaning in a fundamentally unstable reality.
    • 80 Metascore
    • 88 Carson Lund
    Ad Astra
    In a future where the plagues of civilization have only evolved into new shapes and sizes, it asks, in a roundabout way, if there’s anything worthier of exploration than our own relationships.
    • 80 Metascore
    • 50 Carson Lund
    Boy and the World
    One wonders how receptive young audiences should be to a film that puts its storytelling secondary to its message-making.
    • 80 Metascore
    • 75 Carson Lund
    Light From Light
    Only in focusing so thoroughly on the normal does Paul Harrill’s film stumble upon the paranormal.
    • 80 Metascore
    • 63 Carson Lund
    Too Late to Die Young
    The experience of watching Dominga Sotomayor’s film is not unlike entering a stranger’s dream without an anchor.
    • 79 Metascore
    • 63 Carson Lund
    Hitchcock/Truffaut
    A buoyant tribute, even if the pedigree of the project implies something more paradigm-shifting.
    • 79 Metascore
    • 88 Carson Lund
    Fourteen
    Dan Sallitt recognizes that even the sturdiest of friendships are inevitably tested by time and the evolution of personal responsibility.
    • 79 Metascore
    • 75 Carson Lund
    Green Room
    The film is an unambiguous endorsement of violent revolt as the only effective response to such inhuman savagery.
    • 79 Metascore
    • 88 Carson Lund
    Hermia & Helena
    It may be Piñeiro’s most inspired and thrilling work to date, exhaustive in its means of keeping the viewer off balance and yet rich in its emotional implications.
    • 79 Metascore
    • 75 Carson Lund
    Leonard Cohen: Bird on a Wire
    Cohen here is ever the model of grace and dignity around his peers, if not exactly entirely at peace with himself.
    • 78 Metascore
    • 88 Carson Lund
    Indignation
    James Schamus's screenplay is rich with culturally specific details that deepen these forking moral predicaments.
    • 64 Metascore
    • 38 Carson Lund
    Sleeping with Other People
    This is exactly the kind of movie at which David Wain took aim with his sublime rom-com parody They Came Together.
    • 78 Metascore
    • 75 Carson Lund
    Alice in the Cities
    What makes Alice in the Cities so noteworthy is the tender, lifelike rapport cultivated between Vogler and Rottländer.
    • 78 Metascore
    • 75 Carson Lund
    Donbass
    The film’s collisions between the grave and the comic are crucial to its vision of a society cracking under the weight of its own inconsistencies.
    • 78 Metascore
    • 63 Carson Lund
    Dragnet Girl
    Dragnet Girl features an array of seemingly debased molls and violent loners who blow off steam with punching bags in between petty wrongdoings, but it never outright vilifies any of them.
    • 78 Metascore
    • 88 Carson Lund
    Did You Wonder Who Fired the Gun?
    In directly requesting the audience's trust, Travis Wilkerson initiates a not-particularly-inviting proposition for the viewer, and specifically the white American viewer.
    • 78 Metascore
    • 88 Carson Lund
    A Quiet Passion
    A Quiet Passion's accomplishment is in fleshing out the stark context behind Emily Dickinson's ethereal words.
    • 77 Metascore
    • 50 Carson Lund
    Meru
    Its expositional crutch proves most inadequate when the team ascends the final pitch to the top after years of preparation in no more than a minute of screen time.
    • 48 Metascore
    • 38 Carson Lund
    Ardor
    It broods along as if it's expressing something monumentally important with each slow-as-molasses camera move.
    • 77 Metascore
    • 88 Carson Lund
    24 Frames
    Movement and progress are the organizing principles throughout Abbas Kiarostami's final, posthumously released film.
    • 77 Metascore
    • 63 Carson Lund
    Slalom
    The film’s real subject is a young woman awakening to her oppression, rendered poignant in all its awkwardness by Noée Abita.
    • 29 Metascore
    • 12 Carson Lund
    Old Fashioned
    Any masochistic joy that can be derived from watching the film owes to seeing it take its bullheaded conceit to its logical, artless extreme.
    • 76 Metascore
    • 63 Carson Lund
    99 Homes
    Ramin Bahrani's talent for orchestrating sequences of tightly wound tension is in full bloom here, as is his complementary knack for quieter grace notes.
    • 76 Metascore
    • 75 Carson Lund
    The Death of Louis XIV
    Catalan prankster Albert Serra's film ultimately emerges as a compact, improbably riveting viewing experience.
    • 63 Metascore
    • 50 Carson Lund
    Hello, My Name Is Doris
    Michael Showalter is content to trade They Came Together's mischievous genre deconstructionism for cheap-shot indie quirk.
    • 76 Metascore
    • 63 Carson Lund
    The Front Page
    Milestone’s direction is only sporadically inspired.
    • 75 Metascore
    • 75 Carson Lund
    Ascent
    Fiona Tan’s comprehensive project discriminates against no particular era or pedigree of imagery.
    • 75 Metascore
    • 63 Carson Lund
    Pow Wow
    Its tension between ethnographic ensemble study and thesis-oriented docu-essay is irreconcilable.
    • 75 Metascore
    • 88 Carson Lund
    Pacifiction
    Pacifiction uses its thin narrative elements as a pretense to explore the texture of uncertainty, suspicion, and inaction.
    • 75 Metascore
    • 75 Carson Lund
    The Son of Joseph
    The insistence of Green’s gaze throughout the film encourages us to look beyond the mechanisms of speech and behavior at the more uncanny movements of the conscience.
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