Pat Brown

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Slant Magazine
For 219 reviews, this critic has graded:
  • 28% higher than the average critic
  • 8% same as the average critic
  • 64% lower than the average critic
On average, this critic grades 1.9 points lower than other critics. (0-100 point scale)

Pat Brown's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Come and See
Lowest review score: 12 Force of Nature
Score distribution:
  1. Positive: 144 out of 219
  2. Mixed: 35 out of 219
  3. Negative: 40 out of 219
219 movie reviews
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    • 61 Metascore
    • 50 Pat Brown
    Eric Larue
    While the film features a strong performance from Judy Greer, it’s essentially a patchwork of broad strokes that rarely feel like they’re bringing its world to credible life.
    • 62 Metascore
    • 50 Pat Brown
    Cuckoo
    One may wish that the absurdity of the conceit had been matched by a bit more irreverence in the script and audacity in the imagery.
    • 37 Metascore
    • 50 Pat Brown
    Life Upside Down
    The film could aim with a bit more precision at the price of its characters’ evident comfort.
    • 66 Metascore
    • 50 Pat Brown
    Thirteen Lives
    Avoiding excessively heightened melodrama, Thirteen Lives doesn’t substitute it with much that one couldn’t already find in the copious amount of available coverage of the real-life incident.
    • 66 Metascore
    • 50 Pat Brown
    Mothering Sunday
    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.
    • tbd Metascore
    • 50 Pat Brown
    Leonora addio
    Leonora Addio is a wrestling with memory and history through a deeply personal, if at times indulgent, lens.
    • 60 Metascore
    • 50 Pat Brown
    Scream
    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
    • 50 Pat Brown
    After Yang
    Kogonada’s film doesn’t trust us to recognize the legitimacy of the other’s being without filtering it solely through the lenses of the ruling class.
    • 41 Metascore
    • 50 Pat Brown
    The Woman in the Window
    The Woman in the Window never manages to transcend the impression that it’s merely being clever.
    • 61 Metascore
    • 50 Pat Brown
    Land
    The film’s overtly non-specific title is surely meant to suggest some kind of pared-down elementality, but, in the end, it mostly just reflects the story’s lack of definable character.
    • 73 Metascore
    • 50 Pat Brown
    Supernova
    Supernova is so obviously structured that it often seems to be imposing meaning on its characters.
    • 67 Metascore
    • 50 Pat Brown
    PG: Psycho Goreman
    This tongue-in-cheek gorefest gives the impression of an only semi-coherent joke on the audience.
    • 74 Metascore
    • 50 Pat Brown
    Sylvie's Love
    The film never finds the spark that would imbue the love affair at its center with a sense of passion or urgency.
    • 47 Metascore
    • 50 Pat Brown
    Monster Hunter
    Paul W.S. Anderson has simply combined the established iconography of the popular Capcom game franchise with prefab movie moments.
    • 55 Metascore
    • 50 Pat Brown
    Kindred
    It’s difficult to shake that the film finishes saying what it has to say long before it staggers to the end.
    • 58 Metascore
    • 50 Pat Brown
    Come Play
    While it can be expected that high-concept horror movies will often be sewn together from the premises of recent genre successes, it’s much too easy to see the stitches in writer-director Jacob Chase’s Come Play.
    • 58 Metascore
    • 50 Pat Brown
    7500
    Convenient plot twists undermine its early pretense that it’s aiming for something other than to exploit our deepest, most regressive fears.
    • 59 Metascore
    • 50 Pat Brown
    Our Mothers
    Around his main character, writer-director César Díaz builds a complex but unpretentious interrogation of national belonging.
    • 56 Metascore
    • 50 Pat Brown
    Extraction
    Chris Hemsworth’s hyperbolically skilled soldier is borne of childish fantasies about the order of the world.
    • 51 Metascore
    • 50 Pat Brown
    Trolls World Tour
    At its best, the film doesn’t just privilege altered states of consciousness, it is an altered state of consciousness.
    • 44 Metascore
    • 50 Pat Brown
    Bloodshot
    Given its hero’s imperviousness, the film’s chaotically edited action sequences tend to be devoid of suspense.
    • 54 Metascore
    • 50 Pat Brown
    Seberg
    Throughout, the filmmakers occlude the most fascinating and potentially powerful elements of Jean Seberg’s history.
    • 64 Metascore
    • 50 Pat Brown
    Frozen II
    Woke Disney, trying to navigate a tricky representational path, steps all over itself throughout.
    • 59 Metascore
    • 50 Pat Brown
    Doctor Sleep
    Like a traumatized psyche, it remains uncomfortably stuck in the past, replaying familiar events in an effort to empty them of terror.
    • 62 Metascore
    • 50 Pat Brown
    American Dharma
    The film feels rather like listening to the arsonist calmly explain why he set the fire as we continue to watch it rage.
    • 60 Metascore
    • 50 Pat Brown
    Good Boys
    Gene Stupnitsky’s Good Boys is Big Mouth for those who prefer ribald humor about tweenage sexuality in live action, though it lacks the Netflix show’s frankness and authenticity.
    • 65 Metascore
    • 50 Pat Brown
    Photograph
    In pushing so many seemingly crucial moments off screen, the film transforms its main characters into blank slates.
    • 53 Metascore
    • 50 Pat Brown
    Pokémon Detective Pikachu
    At the very least, Ryan Reynolds’s casting perfectly splits the difference between the adorable and the absurd.
    • 56 Metascore
    • 50 Pat Brown
    Wine Country
    The film’s relatively static approach to narrative works in scenes where the material is funny or elevated by a certain performance.
    • 61 Metascore
    • 50 Pat Brown
    The White Crow
    Ralph Fiennes’s film too conspicuously avoids an overt political perspective.
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