R. Kurt Osenlund

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Slant Magazine
For 76 reviews, this critic has graded:
  • 44% higher than the average critic
  • 6% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 11 points lower than other critics. (0-100 point scale)

R. Kurt Osenlund's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 Dear White People
Lowest review score: 0 Jobs
Score distribution:
  1. Positive: 39 out of 76
  2. Mixed: 18 out of 76
  3. Negative: 19 out of 76
76 movie reviews
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    • 77 Metascore
    • 50 R. Kurt Osenlund
    Grandma
    Writer-director Paul Weitz's proudly boisterous star vehicle for Lily Tomlin has about as many ambitions as it does delusions.
    • 46 Metascore
    • 50 R. Kurt Osenlund
    Fifty Shades of Grey
    Jamie Dornan somehow manages to render his sculpted beauty moot, which throws a major wrench in the gears for a film dependent on eroticism.
    • 87 Metascore
    • 50 R. Kurt Osenlund
    Birdman or (The Unexpected Virtue of Ignorance)
    It places regurgitated ideas into the mouths of gifted actors, then drops them amid a kooky story that plays like an elaborate distraction from what little the film actually has to say.
    • 52 Metascore
    • 50 R. Kurt Osenlund
    Saint Laurent
    No matter how much Bertrand Bonello varies his split screens, triptychs, and geometric screen divisions, he forgets that one of the most fashionable virtues is knowing when to leave.
    • 50 Metascore
    • 50 R. Kurt Osenlund
    Child of God
    James Franco's general aesthetic is ugly and ambling, not so much because of its brownish-gray monochrome, but because it registers like the jerky result of a college kid wielding a DV cam.
    • 30 Metascore
    • 50 R. Kurt Osenlund
    Endless Love
    Shana Feste's film seems blissfully unaware that great fights require truly substantial conflicts.
    • 39 Metascore
    • 50 R. Kurt Osenlund
    The Adventurer: The Curse of the Midas Box
    The film gradually reveals a lot of unsavory motives, which ultimately deflate the buoyant virtues on which the film had blithely coasted.
    • 66 Metascore
    • 50 R. Kurt Osenlund
    The Hobbit: The Desolation of Smaug
    A once-precious franchise's weakest installment, which forgets these adventures' magic was never conjured by bells and whistles.
    • 41 Metascore
    • 50 R. Kurt Osenlund
    Romeo & Juliet
    Not even when the doomed Juliet reaches for Romeo's dagger do you feel a single vicarious pain in your gut.
    • 81 Metascore
    • 50 R. Kurt Osenlund
    Wadjda
    It doesn't play like reality, but like boilerplate filmic fantasy, and its novel setting and inception struggles seem positioned as a beard--or veil, if you will--to mask its mediocrity.
    • 33 Metascore
    • 50 R. Kurt Osenlund
    The Mortal Instruments: City of Bones
    The movie blasts by for a while as an odd and busy slice of highly watchable garbage.
    • 55 Metascore
    • 50 R. Kurt Osenlund
    2 Guns
    Viewer/character solidarity only holds up for so long, and the film falls hard into twisty, nonsense territory, skipping over its stronger themes in the process.
    • 66 Metascore
    • 50 R. Kurt Osenlund
    The Bling Ring
    Sofia Coppola seems curiously unmotivated to bring full analysis or provocation to her themes, leaving the film feeling like a disappointingly toothless satire.
    • 50 Metascore
    • 50 R. Kurt Osenlund
    The Guilt Trip
    Mothers and sons deserve an amiable comedy they can share, but this one proves to be faulty long before the requisite freeway breakdown.
    • 57 Metascore
    • 50 R. Kurt Osenlund
    Katy Perry: Part of Me
    This frothy 3D concert doc often plays like a Perry ad campaign, assuring viewers that their "Teenage Dream" diva is a good, fun-loving person, and that, by God, she's doing fine.
    • 31 Metascore
    • 50 R. Kurt Osenlund
    This Means War
    This Means War seems so concerned with being the best product, it doesn't even know how to be good trash.
    • 68 Metascore
    • 50 R. Kurt Osenlund
    Like Crazy
    Outside of Felicity Jones's work, the film, directed and co-written by Drake Doremus, usually feels like it's soullessly connecting dots, a far cry from the Before Sunrise-style substance its Yank-meets-Euro chattiness might suggest.

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