For 269 reviews, this critic has graded:
  • 45% higher than the average critic
  • 4% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 10.8 points higher than other critics. (0-100 point scale)

Josh Larsen's Scores

  • Movies
  • TV
Average review score: 75
Highest review score: 100 Lawrence of Arabia (re-release)
Lowest review score: 25 Swiss Family Robinson
Score distribution:
  1. Negative: 21 out of 269
269 movie reviews
    • 70 Metascore
    • 63 Josh Larsen
    Eventually a fatalistic torpor settles over the film, even during the increasingly gun-heavy action scenes. For all its early intoxication, The Old Guard has an aftertaste that’s deadening.
    • 86 Metascore
    • 88 Josh Larsen
    Vitalina Varela is a work of astonishing visual richness, boasting a depth of dark and light, a fullness of color, and an exquisite care for composition.
    • 79 Metascore
    • 88 Josh Larsen
    Garner gives a remarkable performance, especially considering she has very little dialogue with which to work.
    • 76 Metascore
    • 75 Josh Larsen
    Shirley isn’t a masterful film, but it suggests that Decker has one in her.
    • 47 Metascore
    • 63 Josh Larsen
    Penetrating as it is, Irresistible exists not to score political points, but to call for a renewal of the American political process.
    • 77 Metascore
    • 88 Josh Larsen
    With Chi-Raq, Spike Lee is vital again. This isn’t to say I agree with all of the movie’s politics or that he’s made a perfect film. What I mean is that he’s once again brought something necessary to the screen in a way that no other director could.
    • 82 Metascore
    • 75 Josh Larsen
    Da 5 Bloods may be mid-tier Spike for me, but man did we need it in June of 2020.
    • 78 Metascore
    • 75 Josh Larsen
    The Painter and the Thief tells a remarkable story of artistic understanding, one which Rees gives a clever, two-part structure.
    • 69 Metascore
    • 75 Josh Larsen
    The silliness is as sharp and improvisational as ever, as are the impressions.
    • 84 Metascore
    • 75 Josh Larsen
    It’s less Close Encounters of the Third Kind and more like a special episode of The Twilight Zone, starring The X-Files’ Mulder and Scully. Which is to say, pretty fun.
    • 55 Metascore
    • 75 Josh Larsen
    There’s a soft, dim quality to the air in Clementine, the feature debut of writer-director Lara Gallagher. It sometimes blurs into murkiness, but mostly it gives the psychological drama an appropriately dusky glow. This is a movie about not being able to see others clearly, and how that distorts the way you see yourself.
    • 78 Metascore
    • 75 Josh Larsen
    Honest, incisive, and deeply sympathetic, Beach Rats is an intimate portrait of the cost that is paid when a teenager feels societal pressure to remain closeted.
    • 72 Metascore
    • 75 Josh Larsen
    Blow the Man Down snagged me right away with its bold, stylized opening.
    • 69 Metascore
    • 63 Josh Larsen
    Unlike Daze and those other predecessors, Selah and the Spades never convincingly establishes its own stylized universe, resting somewhat uncomfortably between the real world and a fully realized, believably hermetic place.
    • 91 Metascore
    • 88 Josh Larsen
    At first glance it’s as if the masterful Romanian abortion drama 4 Months, 3 Weeks, and 2 Days had been remade as a piece of scruffy American neorealism. But then comes The Scene.
    • 89 Metascore
    • 88 Josh Larsen
    Never underestimate what people will do for a beaver hat, a pail of milk, or a warm oily cake.
    • 54 Metascore
    • 63 Josh Larsen
    Wendy, director Benh Zeitlin’s follow-up film, works too—but just barely.
    • 61 Metascore
    • 75 Josh Larsen
    Onward may not rank among Pixar’s best, but the studio’s ability to gently tweak heartstrings, without overdoing it, remains intact.
    • 72 Metascore
    • 88 Josh Larsen
    Moss shifts into another gear for the truly disturbing finale, when those eyes flicker with thoughts of revenge and events unfold in a way that remind us that Whannell’s big break was as the screenwriter of Saw. The Invisible Man ends on a nasty note, but then again the 1933 film was nasty too. Given the omnipotent power of invisibility, humans apparently do their worst.
    • 61 Metascore
    • 88 Josh Larsen
    Kenneth Lonergan, who wrote and directed Margaret, deserves credit for the framework and dialogue he provides, but it’s Paquin who channels the roiling surges of that age with a startling combination of unpredictability and precision.
    • 68 Metascore
    • 75 Josh Larsen
    Just Mercy is a testament to what talented actors can do with material that might otherwise be stifling.
    • 60 Metascore
    • 63 Josh Larsen
    As long as Harley Quinn is on the screen, Birds of Prey has a propulsive, rollergirl energy. Unfortunately the screenplay, by Christina Hodson, unnecessarily complicates things in various ways.
    • 77 Metascore
    • 88 Josh Larsen
    As a director, Jia constructs sparsely edited scenes built upon long, single takes—nothing showy, just patient, uninterrupted attention given to the characters in a way that feels empathetic and mournful.
    • 66 Metascore
    • 75 Josh Larsen
    [Zellweger’s] unrecognizable, in appearance and level of conviction. Even with the gaps I have in her filmography, I feel safe saying this is a career-best performance.
    • 75 Metascore
    • 75 Josh Larsen
    Whenever the film settles on the two leads—who both melt into these real-world personas so thoroughly that Hannibal Lecter himself is soon forgotten—it becomes an intimate portrait of faith as a struggle, even for those at the very top.
    • 66 Metascore
    • 63 Josh Larsen
    Erivo anchors even the hokiest scenes with exactly the qualities a faith-forward telling like this needs: conviction and fervency.
    • 75 Metascore
    • 88 Josh Larsen
    The reprieves are what elevate the film, including a mournful moment in the coda – I shouldn’t give it away – that was almost shocking in its starkness and bravery. Such thoughtful touches are far quieter than a dragon’s roar, but they speak volumes.
    • 87 Metascore
    • 88 Josh Larsen
    Yun’s portrayal of Mija has a novelistic richness to it, acutely observed in its details (the way she carries her purse), yet expansive enough to encompass the character’s long psychological journey.
    • 80 Metascore
    • 88 Josh Larsen
    The Turin Horse might befuddle you and it might bore you. But I guarantee you won’t forget some of the images, and more likely than not you’ll be left pondering their potential meaning.
    • 72 Metascore
    • 88 Josh Larsen
    Like Shinkai’s metaphysical body-switching fantasia Your Name, Weathering with You works on multiple levels: as eco-fable, social commentary, and teen romance.

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