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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    • 56 Metascore
    • 25 Carson Lund
    The Human Surge
    The film’s default state is an ambient inertia that gestures vaguely in multiple directions without concerning itself with the hard work of constructing an argument, a convincing milieu, or even a compelling mood.
    • 47 Metascore
    • 75 Carson Lund
    A Cure for Wellness
    Most gratifying throughout A Cure for Wellness is the moment-to-moment anticipation of where Gore Verbinski will put his camera next.
    • 60 Metascore
    • 50 Carson Lund
    Dark Night
    Tim Sutton's film often surprises on the micro level, but its broader execution gives reason for pause.
    • 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.
    • 72 Metascore
    • 50 Carson Lund
    Always Shine
    The film undermines the unity of its characterizations, redirecting into garish phantasmagoria.
    • 73 Metascore
    • 75 Carson Lund
    The Illinois Parables
    Even more diverse than the film's historical material is its eccentric mash-up of styles and approaches.
    • 70 Metascore
    • 50 Carson Lund
    Portrait of a Garden
    Portrait of a Garden‘s distance from its human subjects forestalls the film’s momentum and strips it of a heart.
    • 37 Metascore
    • 38 Carson Lund
    Autumn Lights
    The film is like a landlocked Bergman chamber drama divested of any ambivalence regarding human relationships.
    • 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.
    • 82 Metascore
    • 63 Carson Lund
    The Academy of Muses
    It's a shame that the José Luis Guerín film's verbal qualities far outpace its formal attributes.
    • 87 Metascore
    • 88 Carson Lund
    Happy Hour
    Hamaguchi arranges most sequences around a handful of static, roomy medium shots that subtly suggest emotional dynamics through camera and actor positioning.
    • 73 Metascore
    • 50 Carson Lund
    Richard Linklater: Dream Is Destiny
    The documentary is just more of what we've come to expect from director Richard Linklater's expanded fanverse.
    • 78 Metascore
    • 88 Carson Lund
    Indignation
    James Schamus's screenplay is rich with culturally specific details that deepen these forking moral predicaments.
    • 51 Metascore
    • 25 Carson Lund
    For the Plasma
    The film, whose disparate narrative threads unsurprisingly never connect, drowns in weirdness for its own sake.
    • 64 Metascore
    • 75 Carson Lund
    Café Society
    As clarified potently by the film, most of life is spent distracting oneself from matters of the closest personal significance.
    • 71 Metascore
    • 50 Carson Lund
    Men Go to Battle
    It's too texturally exacting in its recreation of a transitory moment in U.S. history to register as a failure.
    • 59 Metascore
    • 75 Carson Lund
    The Shallows
    What makes the film churn so forcefully for so long is Jaume Collet-Serra's visual acrobatics.
    • 70 Metascore
    • 75 Carson Lund
    Jia Zhangke, A guy from Fenyang
    Walter Salles reinforces the impression of Jia's own art as emerging fluidly from the vagaries of his own life and socioeconomic position.
    • 65 Metascore
    • 88 Carson Lund
    The Other Side
    Roberto Minervini's documentary is as quintessentially American a text as one could hope for in today's divided union.
    • 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.
    • 85 Metascore
    • 88 Carson Lund
    Everybody Wants Some!!
    Richard Linklater's film luxuriates in a world that's the platonic ideal of youthful indulgence.
    • 47 Metascore
    • 38 Carson Lund
    I Saw the Light
    A flaccidly directed film that basks for two hours in a carefully art-designed simulation of the past.
    • 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.
    • 53 Metascore
    • 75 Carson Lund
    Knight of Cups
    It has the uncanny quality of an out-of-body experience, not a torn-from-the-heart confessional.
    • 55 Metascore
    • 38 Carson Lund
    Forsaken
    The film adheres to the dictionary definition of a classical genre without ever attempting to subvert it.
    • 60 Metascore
    • 75 Carson Lund
    Eisenstein in Guanajuato
    What comes through clearly by the end of the film is the act of one artist's eccentric generosity breathing new awareness into the life of another.
    • 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.
    • 62 Metascore
    • 75 Carson Lund
    Stinking Heaven
    As in Nathan Silver's previous work, what could have been a rote retread of Pasolini's Teorema blossoms into a study of factional identity and power dynamics.
    • 79 Metascore
    • 63 Carson Lund
    Hitchcock/Truffaut
    A buoyant tribute, even if the pedigree of the project implies something more paradigm-shifting.
    • 74 Metascore
    • 75 Carson Lund
    The Creation of Meaning
    In the simultaneously heady and lyrical The Creation of Meaning, we're obviously implicated in that comment, as the film views the meaning-making process as something malleable and dependent on perspective.
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