Pat Brown

Select another critic »
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
view
per page
    • 63 Metascore
    • 38 Pat Brown
    Mayor Pete
    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
    Army of Thieves
    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
    Compartment No. 6
    Juho Kuosmanen’s film interestingly thrives off of an ironic juxtaposition of character and environment.
    • 82 Metascore
    • 75 Pat Brown
    Vortex
    Merciless but affecting, Vortex suggests that one respite from the loneliness of life lived in the shadow of death is the realm of dreams.
    • 92 Metascore
    • 100 Pat Brown
    Memoria
    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
    Blue Bayou
    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.
    • 91 Metascore
    • 88 Pat Brown
    The Worst Person in the World
    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
    Red Rocket
    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.
    • 75 Metascore
    • 75 Pat Brown
    Titane
    Titane wildly expands on Julia Ducournau’s idiosyncratic interest in the collision of flesh-rending violence and familial reconfiguration.
    • 82 Metascore
    • 75 Pat Brown
    A Hero
    The film is a demonstrative examination of the way our raising of heroes onto social media pedestals diminishes the messy, sometimes impenetrable truth of human lives.
    • 75 Metascore
    • 75 Pat Brown
    The French Dispatch
    Wes Anderson’s film is an often fascinating, wondrous exercise in complex narration and visual composition.
    • tbd Metascore
    • 63 Pat Brown
    Bruno Reidal, Confession of a Murderer
    Vincent Le Port’s grim morality tale depicts a society caught between differing norms of discipline, punishment, and sex.
    • 80 Metascore
    • 75 Pat Brown
    Bergman Island
    The film never sacrifices its ambiguity as it brings various threads about ghosts, relationships, art, and gender to a head.
    • 53 Metascore
    • 25 Pat Brown
    Flag Day
    Flag Day is little more than a near-two-hour montage of tear-streaked faces shouting blandly melodramatic lines at each other.
    • 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.
    • tbd Metascore
    • 63 Pat Brown
    Softie
    Writer-director Samuel Theis’s film is a noteworthy repurposing of the coming-of-age social drama.
    • 79 Metascore
    • 63 Pat Brown
    Ahed's Knee
    With Ahed’s Knee, Nadav Lapid plays a game with alter egos that’s at once canny and frustrating.
    • 87 Metascore
    • 88 Pat Brown
    The Velvet Underground
    Todd Haynes’s documentary excitingly captures an era’s explosion of creativity, one that bespoke new and challenging kinds of freedom.
    • 90 Metascore
    • 88 Pat Brown
    The Souvenir: Part II
    Joanna Hogg’s film is a work of understated warmth, profound emotional complexity, and eminently British dry humor.
    • 75 Metascore
    • 75 Pat Brown
    Benedetta
    Throughout Benedetta, Paul Verhoeven builds up a heady, campy mix of religious imagery, corporeal abjectness, and masochism.
    • 67 Metascore
    • 75 Pat Brown
    Annette
    The musical format proves a natural fit for Leos Carax’s love of the visual fantasies created by the cinema’s most basic means of illusion.
    • 64 Metascore
    • 75 Pat Brown
    Les Nôtres
    The film is a j’accuse aimed at those complicit in oppressing the most vulnerable in order to protect the powerful.
    • 35 Metascore
    • 12 Pat Brown
    Awake
    It’s difficult to imagine a high-concept thriller that coalesces around its one-line conceit less convincingly than Awake.
    • tbd Metascore
    • 75 Pat Brown
    The Ancient Woods
    The film brings us somewhere where we aren’t, and probably could not be, but nevertheless feels tangibly real.
    • 59 Metascore
    • 38 Pat Brown
    Cruella
    The film’s outward liveliness can’t mask the inner inertia it has as just another lifeless product assembled in a factory.
    • 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.
    • 79 Metascore
    • 75 Pat Brown
    The Fever
    In the film, Manaus is a place of irreconcilable tension between the lush natural world and the cold, metallic world of industrial modernity.
    • 54 Metascore
    • 25 Pat Brown
    Zack Snyder's Justice League
    The film could be taken as an intentional travesty of the superhero genre, if only it weren’t so tortuously tedious.
    • 86 Metascore
    • 75 Pat Brown
    The Inheritance
    The film’s throwback nature is in sync with Ephraim Asili’s interest in wanting to keep the legacy of black activism alive.
    • 68 Metascore
    • 88 Pat Brown
    Fabian: Going to the Dogs
    Its characters are suffused with a paradoxical kind of fear that can only happen in a dream, the dread before an immense catastrophe that’s unavoidable because it’s already happened.
Page:

Top Trailers

See all »
See all trailers »