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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    • 41 Metascore
    • 25 R. Kurt Osenlund
    Pompeii
    Shockingly, the violent release of smoke, fire, and meteoric debris is positioned more as a climactic afterthought than as the main attraction.
    • 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.
    • 39 Metascore
    • 12 R. Kurt Osenlund
    Percy Jackson: Sea of Monsters
    I'll tell you what's insane: the probability that folks will go easy on this dreck because it's aimed at younger viewers, who are being distressingly trained to expect little from their art.
    • 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.
    • 39 Metascore
    • 25 R. Kurt Osenlund
    Planes
    The film feels second-rate in every sense, from the quality of its animation to its C-list voice cast.
    • 37 Metascore
    • 25 R. Kurt Osenlund
    Adore
    So deadly serious and yet so goofily unbound that, in some scenes, incest truly seems like it's on the scandalous menu.
    • 37 Metascore
    • 38 R. Kurt Osenlund
    The Lone Ranger
    The movie, of course, barrels toward climax upon climax, and while possibly better photographed, the crashes, bangs, and booms are no less numbing than anything else you've seen in this summer of garbage blockbusters.
    • 37 Metascore
    • 63 R. Kurt Osenlund
    Fun Size
    It pairs modern attitude with John Hughesian tropes, and it's odd enough, in spurts, to boast originality.
    • 36 Metascore
    • 38 R. Kurt Osenlund
    Gone
    Nearly a year has passed since the release of Catherine Hardwicke's Red Riding Hood, and Amanda Seyfried is still crying wolf.
    • 36 Metascore
    • 38 R. Kurt Osenlund
    That Awkward Moment
    Its obsession with male genitalia, or, more specifically, penis receptacles, is emblematic of its overall aura of male entitlement and its consideration of women as prizes to be lanced.
    • 35 Metascore
    • 75 R. Kurt Osenlund
    Identity Thief
    Melissa McCarthy is riveting in simply-penned moments of remorse and confession, adding tearful depth to her ace timing and formidable physical comedy.
    • 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.
    • 30 Metascore
    • 50 R. Kurt Osenlund
    Endless Love
    Shana Feste's film seems blissfully unaware that great fights require truly substantial conflicts.
    • 22 Metascore
    • 25 R. Kurt Osenlund
    Getaway
    Though always speeding forward in some gear of ridiculousness, the film is a lot more fun when it's completely nonsensical, before its baddie's motives and harebrained plot are funnel-fed to the viewer.
    • 22 Metascore
    • 25 R. Kurt Osenlund
    One for the Money
    One for the Money is like The Bounty Hunter by Andy Tennant, if you dipped it in self-tanner and strapped some Four Loko on it.
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