For 221 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 9.9 points higher than other critics. (0-100 point scale)

Josh Larsen's Scores

  • Movies
  • TV
Average review score: 74
Highest review score: 100 Yi Yi
Lowest review score: 25 It: Chapter Two
Score distribution:
  1. Negative: 21 out of 221
221 movie reviews
    • 90 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.
    • 71 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.
    • 84 Metascore
    • 50 Josh Larsen
    A goggling miserabilism defines Beanpole, making it hard to connect with the film on anything other than an aesthetic level.
    • 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.
    • 49 Metascore
    • 38 Josh Larsen
    I wouldn’t call Little a showcase for Issa Rae, who gets one of her first significant big-screen roles, but anyone who can bring this much life and intelligence to such tired material certainly deserves praise.
    • 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.
    • 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.
    • 93 Metascore
    • 75 Josh Larsen
    Baumbach gets career-best performances from the leads.

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