LarsenOnFilm's Scores

  • Movies
For 510 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 10.1 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: 38 out of 510
510 movie reviews
  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. Men
    A horror meditation on the biblical origins and self-perpetuating permutations of patriarchy, Men unfolds like an echoing primal scream.
  10. 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.
  11. This is largely an obligatory Marvel Cinematic Universe installment until it becomes possessed, quite literally, by a horrific spirit.
  12. 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.
  13. 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.
  14. The movie’s best moments are those of cinebro-bonding between Pascal and Cage’s characters.
  15. 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.
  16. Everything Everywhere All At Once is at once a showcase for one of the world’s greatest acting talents and a manic meditation on reality, regret, and the richness of family bonds. It’s a movie that’s difficult to describe, but easy to love.
  17. Turning Red is a wonder in the way 13-year-old girls can be: monstrous one moment, heart-melting the next.
  18. Plemons amuses as the arrogant billionaire, dripping with disdain for his captor, but both he and Collins are saddled with speeches explaining the essences of their characters, as if they weren’t trusted to do so in their performances.
  19. Crawl lends credence to the claim that you should never give up on a director.
  20. Even while understanding that much of Belfast is supposed to be from the perspective of Buddy (Jude Hill), a young boy who witnesses the beginning of Ireland’s “Troubles” in his working-class neighborhood (and serves as something of a stand-in for writer-director Kenneth Branagh), I still felt a type of artistic naivete at work—a belief that all you need is black-and-white cinematography and a cute kid to create something of deep meaning and emotion.
  21. With a more streamlined narrative, it would have been stunning. As is, the movie certainly marks Diallo as promising.
  22. In the end, After Yang is less interested in excitedly speculating on the inner life of its title character than it is interested in what we homo sapiens do with the lives we’ve been given.
  23. Pattinson and Kravitz bring real heat to their scenes together—there’s a great moment where he holds her against his chest as they’re hiding from a pursuer and their breathing slowly, erotically falls into rhythm. Even at three hours, the movie could use more of her.
  24. Koepp’s fairly straightforward screenplay doesn’t take us in many surprising directions, so the film’s pleasures lie in Kravitz’s jittery performance (she’s working in a similar vein to Claire Foy in Soderbergh’s other recent psychological thriller, Unsane) and the experimental filmmaking that’s usually going on in the corners of a Soderbergh production.
  25. Encanto takes on a complicated, mature topic—multigenerational family dysfunction—and dramatizes it in ways that are simultaneously literal and metaphorical, which is something only the best of Pixar usually manages to pull off. Here, the result is at once limited and meandering, underexplored and overstuffed.
  26. Train to Busan is a cleverly concentrated shot of zombie terror.
  27. The comic setups take longer than they should, then the punchlines give you a violent bear hug when they should be lightly slapping you on the cheek before quickly moving on to the next gag.
  28. Other than these visual delights, Moonfall isn’t much fun.
  29. The meta irony is that even as Scream 2022 is telling certain fans to back off and calm down, it’s also wooing a new generation. Luckily the film is clever enough to earn such … well, let’s call it appreciation, rather than allegiance. It’s just a movie, after all.
  30. Ready or Not works best as a black comedy about how far the obscenely rich will go to keep what they (undeservedly) have.

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