LarsenOnFilm's Scores

  • Movies
For 534 reviews, this publication has graded:
  • 47% higher than the average critic
  • 4% same as the average critic
  • 49% lower than the average critic
On average, this publication grades 10 points higher than other critics. (0-100 point scale)
Average Movie review score: 75
Highest review score: 100 Goodfellas
Lowest review score: 25 It: Chapter Two
Score distribution:
  1. Negative: 39 out of 534
534 movie reviews
  1. Unfortunately the screenplay, by Dana Stevens, relies on crowd-pleasing story beats and injects a groan-worthy romantic subplot; the movie yearns a bit too much to be a hit. At least director Gina Prince-Bythewood (Love & Basketball, Beyond the Lights, The Old Guard) brings a lively musicality to the sequences depicting Dahomey cultural rituals, as well as a clean ferocity to the many (and gruesome) battle sequences.
  2. Blonde so wholly commits to its vision of Monroe as a damaged soul—with the filmmaking acumen of a gripping psychological horror film—that it drowns out any sense of the rare talent she was and the rarified art she helped make.
  3. Mostly a work of stop-motion, the movie boasts expansive, intricately detailed sets that the eye can’t help but want to explore, despite the horrors that take place among them.
  4. Miller and cinematographer John Seale deliver some stunning tableaus, especially in The Djinn’s lush memories, but it all begins to feel as ephemeral as the spectral, CGI dust that swirls out of the movie’s various bottles. In short I appreciated the craft, but never felt the longing.
  5. Make no mistake, Hall is terrific—sharply comic in the broader scenes, while also allowing little glimpses of Trinitie’s inner turmoil before she shuts them away behind her “first lady” facade. Brown, however, vacuums up the movie in a way that’s both entrancing and entirely true to the complicated character he’s playing.
  6. The movie is a hate-watch thriller that scoffs at its characters as much as you do.
  7. As Naru, a smart, skilled young woman who would rather be hunting than gathering, Midthunder is mesmerizing—capable in the crunchy fight scenes (especially a single-take standoff between her and a handful of Frenchmen), but also in the ways her eyes are always watching, consuming every detail about the way the Predator works and the weapons it uses.
  8. Sure, it may look like it was filmed in a parking garage and the story seems cobbled together by someone who fell asleep during Raiders of the Lost Ark and Romancing the Stone, but it’s still hard to resist The Lost City as it coasts along on the charisma and chemistry of its stars.
  9. If you gave Jordan Peele a list of random cultural ingredients—some songs, a few television shows, a film genre or two, a variety of actors—chances are he could concoct a smart, funny, thrilling filmgoing experience out of the randomness. Peele makes pop-culture smoothie movies that are nutritious and delicious.
  10. Just enough insider detail to tantalize a hardcore basketball fan, but too much inspirational sports hooey to hook one.
  11. If Neptune Frost plays like a visual album rather than a traditional movie (even a movie musical), it offers more substance than that description suggests.
  12. There is a sublime stretch of Thor: Love and Thunder—around the point where Russell Crowe, as Zeus, appears to be auditioning for either House of Gucci, My Big Fat Greek Wedding, or some combination—when the movie drops all pretense of being a coherent narrative, much less a portentous installment in the Marvel Cinematic Universe.
  13. The Deer King offers the personal touch of a hero’s journey alongside a more expansive vision of how to live in community. It’s a stunner.
  14. If the movie features one (or two) too many explosive chase sequences, I did like one of the ways it envisions its moral thesis (which is that we all have a good side): whenever Wolf inadvertently does something nice, his tail embarrassingly, uncontrollably wags, like a divining rod for redemption.
  15. Slate gives Marcel a bit of wit along with that gentleness (I love when he teases Dean), but it’s the openness of heart you hear in the voice that defines the character—without ever making him mawkish.
  16. It’s a welcome return to Luhrmann maximalism, if you’re a fan of his style. And it’s anchored by a wild, possessed performance by Austin Butler, who gets Presley’s singing voice and—more importantly—gyrations exactly right.
  17. One side effect of a tagalong project like Lightyear is that even while the movie is rightly being shrugged off as another reheat, moments of real artistry will get overlooked. The animation in this Toy Story-adjacent adventure is astounding; with each new movie, the studio advances the art form in incremental ways.
  18. You can argue with the movie in your head, even while you admit—say, when Dick and Jo dance their way across a stream by lightly stepping onto a floating raft—that your heart is having all sorts of fun.
  19. We’re largely left with an arresting return to the sort of wild work Cronenberg delivered in the 1980s and 1990s, if one where the shock is ironically missing.
  20. Potential abounds in As Above, So Below—a sort of “Indiana Jones and the Haunted Catacombs”—though the many ideas at play never fully come together.
  21. V/H/S is icky stuff that doesn’t deserve a pass just because the awful men in it get what’s coming to them.
  22. Already, the younger Panahi has a firm command of the (largely) fixed camera; an eye for incorporating dramatic landscapes into the mise en scene (the family’s goodbye, a long shot against drifting clouds, is a heartbreaking stunner); a penchant for stylistic flourishes (including a magical flight into the stars); and an affinity for performance.
  23. Just when I was about to nod off, Top Gun: Maverick jostled me awake with a fresh approach to the sort of blockbuster entertainment that the original movie managed so expertly. Faint praise? Maybe. But also higher praise than I ever expected to be giving.
  24. Men
    A horror meditation on the biblical origins and self-perpetuating permutations of patriarchy, Men unfolds like an echoing primal scream.
  25. X
    What follows is a slightly unfocused twist on the sex-and-death genre; promiscuity is punished, yes, but out of hypocritical jealousy rather than any sort of moral high ground. If this doesn’t entirely work, it’s because of the movie’s depiction of the elderly couple.
  26. This is largely an obligatory Marvel Cinematic Universe installment until it becomes possessed, quite literally, by a horrific spirit.
  27. No matter where the film leaves us narratively, however, its evocation of estrangement—even, perhaps especially, as part of an Internet where we can talk to anyone at anytime—is both emotionally palpable and cinematically potent.
  28. The Northman throws a few wrinkles into its vengeance story, but doesn’t offer up much food for thought. This is mostly a visual extravaganza of gritty historical detail, mythic imagination, and brutally horrific violence.
  29. The movie’s best moments are those of cinebro-bonding between Pascal and Cage’s characters.
  30. Apollo 10 ½ is so adept at making the mundane magical that it almost doesn’t need the conceit that gives the movie its title.

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