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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    • 93 Metascore
    • 88 Pat Brown
    Petite Maman
    The film evinces Céline Sciamma’s profound knack for visual economy, communicating much with silent looks and structured absences.
    • 65 Metascore
    • 75 Pat Brown
    Sin
    Andrei Konchalovsky’s film is fascinated with the creation of great art in the midst of socio-political turmoil.
    • 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.
    • 53 Metascore
    • 38 Pat Brown
    Malcolm & Marie
    Expending so much energy anticipating our avenues of interpretation, Malcolm & Marie leaves us with little to interpret.
    • 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.
    • 79 Metascore
    • 75 Pat Brown
    Film About a Father Who
    Throughout, Lynne Sachs undercuts the image of the past as simpler or more stable than the present.
    • 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.
    • 72 Metascore
    • 75 Pat Brown
    Promising Young Woman
    The film’s empowerment fantasy of a woman who steamrolls male egos is as stylish and fun as its portrait of gender relations is dire.
    • 89 Metascore
    • 63 Pat Brown
    Minari
    The film’s orderliness of plot somewhat undermines the sense that the family at its center is steeped in a truly messy situation.
    • 69 Metascore
    • 75 Pat Brown
    Happiest Season
    The film translates the often difficult realities of a specific kind of marginalized love into a story with broad appeal.
    • 34 Metascore
    • 25 Pat Brown
    Vanguard
    The film is an uncanny reflection of the jingoism that Hollywood has been wrapping in glossy spectacle and exporting to foreign markets for decades.
    • 69 Metascore
    • 63 Pat Brown
    I Am Greta
    Even though it’s about a person who speaks with courage about the urgency of the global crisis, I Am Greta itself doesn’t possess enough of that urgency.
    • Slant Magazine
      • Posted Nov 9, 2020
    • 67 Metascore
    • 63 Pat Brown
    Freaky
    Freaky doesn’t reach for any arch commentary beyond the suggestion that, hey, Freaky Friday the 13th is a pretty funny idea.
    • 82 Metascore
    • 75 Pat Brown
    The Climb
    The film slides seamlessly between empathizing with its clueless bros and making them objects of unsparing derision.
    • 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.
    • 46 Metascore
    • 25 Pat Brown
    Honest Thief
    The repetitious plot is more ritual than text as we watch yet another Liam Neeson avenger defy the will of younger, unscrupulous men.
    • 80 Metascore
    • 75 Pat Brown
    The Forty-Year-Old Version
    Radha’s remaking of herself contains an uplifting, unpretentious truth about aging: It’s never too late to make a new start.
    • 53 Metascore
    • 88 Pat Brown
    Space Dogs
    The film draws us through its play toward darker, too-seldom-considered sides of human and doggy nature.
    • 91 Metascore
    • 88 Pat Brown
    Time
    It reminds us in eminently cinematic ways that behind the numbers and procedures of a court case are actual lives existing in actual, human time.
    • 93 Metascore
    • 88 Pat Brown
    David Byrne’s American Utopia
    American Utopia feels as much like a balm as it is a surprisingly direct call to political action and social betterment.
    • 75 Metascore
    • 88 Pat Brown
    Notturno
    The film’s experiential approach emphasizes that the fragments of life it captures aren’t impersonal events on a timeline.
    • 67 Metascore
    • 75 Pat Brown
    Cuties
    Maïmouna Doucouré has a remarkable grasp of the irrationality and volatility of middle-school social dynamics.
    • 69 Metascore
    • 88 Pat Brown
    The Mole Agent
    That Maite Alberdi’s camera itself is present in The Mole Agent as a quasi-ethical concern suits the way Sergio, as he shuffles through the home’s hallways, gradually comes to be uncomfortable with his own surveillance.
    • 84 Metascore
    • 75 Pat Brown
    Boys State
    The film suggests that our political system is a popularity contest that functions for no one but those jockeying for power.
    • 52 Metascore
    • 63 Pat Brown
    Waiting for the Barbarians
    Ciro Guerra never quite finds an imagistic equivalent to the novel’s apocalyptic mood and subtly hallucinogenic atmosphere.
    • 73 Metascore
    • 63 Pat Brown
    The Fight
    The film justly draws attention to the perpetual work that must go into preserving democratic institutions.
    • 62 Metascore
    • 63 Pat Brown
    Amulet
    The film never feels as satisfying or as haunting as its bow-tying epilogue strives for.
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