LarsenOnFilm's Scores

  • Movies
For 405 reviews, this publication has graded:
  • 47% higher than the average critic
  • 3% same as the average critic
  • 50% lower than the average critic
On average, this publication grades 10.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 75
Highest review score: 100 Goodfellas
Lowest review score: 25 The Predator
Score distribution:
  1. Negative: 28 out of 405
405 movie reviews
  1. Old
    Old is vintage M. Night: a high concept brought ever higher by a filmmaker apparently incapable of second-guessing himself.
  2. Cheadle is wonderful—weary and gravelly as an underestimated ex-con playing everyone’s assumptions about him to his advantage.
  3. A dizzying story told at a dizzying pace, Zola might register for some as a transgressive lark (it certainly has comic touches, including a montage of Stefani’s clients’ penises). My experience was more like a simmering panic attack; it’s “fun” in the same way Uncut Gems was fun.
  4. It’s not just the historical footage that makes the documentary special, however; it’s also what Questlove and his filmmaking team do with it.
  5. Black Widow certainly suffers from MCU bloat—dutiful references to other installments in the franchise, an overly convoluted plot leading to a two-hour-plus runtime, an endlessly explosive action finale that takes place mostly in front of green screens—yet a strong cast and emphasis on character ultimately overcome much of those grievances.
  6. F9
    Director Justin Lin (making his fifth Fast film) nicely balances chaos and clarity in one early chase scene through the jungle, but later lets the visual bombast take over.
  7. One of Pixar’s smaller, sweeter efforts.
  8. If In the Heights is packed with enough bold choices to invite both effusive praise and endless nitpicking, that comes with the genre.
  9. The movie considers what it means to move on, to reconcile with the past while creating a new future. For both a city and a person. And, perhaps, a sea nymph.
  10. All Light, Everywhere is very smart and extremely meta (Anthony often films himself and his crew setting up a shot, to emphasize the observational point), though it can be a bit dry.
  11. Much of Holler’s plotting feels driven by issues (factory layoffs, opioids) rather than allowing those issues to naturally exist within the narrative, but Adlon brings an exhausted authenticity to the film that makes up for it.
  12. Exhaustingly over-directed (Craig Gillespie zooms in from an establishing shot to a close-up in nearly every other scene), the movie is also a nonstop parade of grating, obvious needle drops.
  13. On the surface, A Quiet Place Part II is another expertly crafted and well-acted monster movie, much like its predecessor.
  14. Shiva Baby has a comic claustrophobia that almost makes you choke, so intense is its depiction of familial/traditional walls closing in on its main character.
  15. Wow, when this thing eventually curdles, it really curdles into something rank.
  16. It’s another astounding assemblage of dryly humorous, immaculately designed, fixed-camera vignettes, if an even more morose collection than the previous ones.
  17. Hang in there with Together Together. What may seem at first like a slender character study eventually grows into a more expansive exploration of loneliness, before ending on a perfect, powerhouse final shot.
  18. Thanks to little filmmaking touches, Kong has real personality, which helps us come to care for his plight.
  19. A triumph of design, Raya and the Last Dragon is held back by a lackluster story, one cobbled together from various influences (Indiana Jones, Star Wars, an array of Southeast Asian cultures) and bent in service of a tortured—and somewhat confused—lesson about learning to trust.
  20. This is too neat, tidy, and digestible of a take on such a wrenching topic—especially when we know the forces of injustice at work here were only temporarily stymied by this trial, and hardly defeated.
  21. When Pieces of a Woman is at its best, it’s focusing on this traumatized couple and how neither knows how to make room for the other’s grieving process, partly because their respective processes conflict. Unfortunately the movie wants to be so much more.
  22. You’re guaranteed to come away with new respect for the octopus as a species and astonishment at the intimate connection Foster experiences.
  23. Day has a startling combination of confidence and corruptibility as the legendary jazz singer, but the film itself is a jumble of barely established characters, over-stylized techniques, and didactic dialogue.
  24. Murphy is committed, bringing back the same low-key charm he showcased in the original, while also undercutting Akeem by showing how he has come to represent the repressive Zamundan traditions he once rebelled against.
  25. A tender, fictionalized memoir anchored by two stellar performances.
  26. As for Hopkins, he gives a precisely observed performance, capturing Anthony’s confusion without limiting the character to that single quality. He’s dazzling, for example, when turning on the charm for a potential new caregiver.
  27. Part poetry slam, part dance performance, part survivalist nightmare, Night of Kings imagines narrative as a saving grace, even in the darkest place.
  28. I don’t know if I’ve ever seen a pair of performances—no, it’s really a singular, joint performance—like what we get from Kristen Wiig and Annie Mumolo in Barb and Star Go to Vista Del Mar.
  29. This is history, but it’s also alive. It’s the story of a weasel caught—and complicit in—a crossroads, one that leads directly to where we find ourselves today.
  30. Just putting us in Maud’s head—even as grippingly as the filmmaking does here—is not the same as trying to empathize with her. Still, the movie marks Glass as a filmmaker to watch.

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