For 267 reviews, this critic has graded:
  • 46% higher than the average critic
  • 4% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 10.9 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 267
267 movie reviews
    • 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.
    • 65 Metascore
    • 63 Josh Larsen
    As things go very, very dark in the last third, the tone control starts to slip, eventually sliding away in the final moments, when what had been a sly critique of toxic masculinity turns preachy.
    • 85 Metascore
    • 88 Josh Larsen
    There are unknown, uncontrollable, and perhaps even metaphysical forces at work in that water. Watching Atlantics harness them in the name of justice is a spooky thrill.
    • 90 Metascore
    • 88 Josh Larsen
    I could describe Uncut Gems for you, or you could try and hold your breath for a full minute and pretty much have the same experience.
    • 74 Metascore
    • 63 Josh Larsen
    The style is arresting and the leads are strong, but the story runs out of steam.
    • 78 Metascore
    • 88 Josh Larsen
    Unlike his last two films, Song to Song and Knight of Cups, which dithered in a metaphysical malaise, this thrums with a spiritual vigor.
    • 53 Metascore
    • 63 Josh Larsen
    The film shouldn’t be snidely dismissed, despite its faults. With Rise of Skywalker, Star Wars limps to a close, but there’s still good in it.
    • 64 Metascore
    • 50 Josh Larsen
    A torturously convoluted extension of an already complicated narrative that can’t decide if it wants to be an origin story for snow queen Elsa, a romance for her sister Anna, a metaphor for living with grief and depression, or a parable about reparations due to indigineous peoples.
    • 95 Metascore
    • 100 Josh Larsen
    Haenel, who also appeared in Sciamma’s debut film, Water Lilies, is mesmerizing, conjuring a full person using little more than stillness and a direct stare.
    • 86 Metascore
    • 88 Josh Larsen
    During much of Black Mother, the top of the next frame can be seen peeking from the bottom of the current one. The effect is a certain cinema verite bleariness, but also the suggestion that the person upon whom the camera is focused has a story that not only matters in this moment, but will go on.
    • 78 Metascore
    • 75 Josh Larsen
    As 1917 goes on and the pair face a series of logistical challenges (navigating a collapsing bunker, crossing a bombed-out bridge), the film’s form begins to resemble that of a video game—only without the user interaction that makes games so compelling.
    • 82 Metascore
    • 88 Josh Larsen
    The moral burden of wealth weighs heavily on Knives Out, a dexterously cunning, immensely entertaining whodunit that has more than catching the killer on its mind.
    • 80 Metascore
    • 63 Josh Larsen
    Writer-director Paul Harrill stages a gripping early investigation sequence—in which Shelia wanders the home alone at night, asking any supernatural presence to make itself known—but otherwise the film largely consists of long conversation scenes that verge on the inert.
    • 94 Metascore
    • 75 Josh Larsen
    Baumbach gets career-best performances from the leads.
    • 74 Metascore
    • 75 Josh Larsen
    Burning Cane doesn’t resolve things as much as it makes poetry of them, right from its opening shot of the radiant beams of the sun shining upon the drifting smoke of a smoldering sugarcane field. Sometimes it seems as if there’s no escape from the stain of sin.
    • 80 Metascore
    • 75 Josh Larsen
    The actor’s cadences and vocal register are different than the real Rogers (did I detect an illogical Southern accent here and there?), but he mostly embodies the lightness with which Rogers held the screen, the unhurried manner in which he spoke to people, and the way, while watching his show, the world stopped for a little while and you felt like someone deeply cared.
    • 91 Metascore
    • 88 Josh Larsen
    Ably mixing past and present sensibilities is no easy feat, but every person in Gerwig’s ensemble cast manages it.
    • 58 Metascore
    • 88 Josh Larsen
    This is either the worst time for a movie like Jojo Rabbit or the best time. I lean toward the latter. I’m perfectly willing to concede that the film may come across as gauche in the coming years, but in November 2019—as an irreverently comic middle finger to idiotic, irrational tribalism—wow, does it feel good.
    • 85 Metascore
    • 88 Josh Larsen
    Ash Is Purest White starts as a crackerjack, Bonnie and Clyde-style crime movie, then slows down into something more akin to Antonioni’s L’Avventura. It eventually ends as a mesmerizing mood piece about personal alienation and national dislocation. That’s quite a shift, but writer-director Jia Zhangke (A Touch of Sin, Mountains May Depart) finesses it effortlessly.
    • 94 Metascore
    • 88 Josh Larsen
    Perhaps director Martin Scorsese had to make five other mobster movies before he could make one as wise, reflective, and mournful as The Irishman.
    • 83 Metascore
    • 88 Josh Larsen
    Figuring everything out isn’t necessary to enjoying The Lighthouse; it’s staggering simply as an audiovisual feast.
    • 82 Metascore
    • 75 Josh Larsen
    Zhou is fantastic as the schoolteacher-turned-rebel-leader; clearly not content to keep her head down, she’s always peering out of windows to get the lay of the land, even before she officially joins the movement.
    • 87 Metascore
    • 88 Josh Larsen
    Pain and Glory is one of Almodovar’s least exuberant productions. It’s also one of his best.
    • 96 Metascore
    • 88 Josh Larsen
    The genius is in the way the movie’s little details and character touches lead to an absolutely bonkers climax—after a shocking twist I won’t reveal—that nevertheless feels inevitable.
    • 59 Metascore
    • 88 Josh Larsen
    Jaundiced and judicious, deeply cynical yet not quite ready to leap into the abyss, Joker is a provocatively toxic time capsule for an era of misguided rage. It’s galling, and pretty great.
    • 70 Metascore
    • 50 Josh Larsen
    The real problem, however, is that neither Molly, nor Newbury, nor anyone on her staff is very funny.
    • 73 Metascore
    • 63 Josh Larsen
    You can feel the ungainly attempts to force that material into tidy little narratives.
    • 64 Metascore
    • 63 Josh Larsen
    In the lead, Mbatha-Raw delivers a shaken, exposed performance that hints at the more familiar stories of domestic trauma (drug use, suicide, having to give up a child) that this otherwise super story might stand in for.

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