LarsenOnFilm's Scores

  • Movies
For 222 reviews, this publication has graded:
  • 45% higher than the average critic
  • 4% same as the average critic
  • 51% lower than the average critic
On average, this publication grades 9.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 74
Highest review score: 100 Portrait of a Lady on Fire
Lowest review score: 25 Swiss Family Robinson
Score distribution:
  1. Negative: 21 out of 222
222 movie reviews
  1. A goggling miserabilism defines Beanpole, making it hard to connect with the film on anything other than an aesthetic level.
  2. 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.
  3. The real problem, however, is that neither Molly, nor Newbury, nor anyone on her staff is very funny.
  4. In Parabellum, the shootouts—and there are two disastrous ones, that finale and a mid-film sequence featuring new costar Halle Berry—are less about Wick (his motivations, his anger, his technique) and more about the grandiosity of the violence.
  5. I suppose if you wanted to be really generous to the film, you could argue that this Dumbo takes a subversive swipe at Disney, its own corporate overseer.
  6. A bit more investigative work on the part of the filmmakers might have gone a long way, especially because there is something of a black hole at the center of Fyre: McFarland is depicted as ground zero in terms of responsibility, but we never get a real sense of who the guy is, what drives him, or how he was able to pull the wool over so many eyes.
  7. McCraney has a background as a playwright, which may explain why High Flying Bird mostly consists of a series of zippy conversations. Each one is overstuffed with so many ideas—not just about sports, but also sexuality, faith, economics, and history—that the characters don’t quite register as flesh-and-blood figures.
  8. The first Suspiria is a psychedelic sensory experience, but it didn’t really mean much. The remake, written by David Kajganich and directed by Luca Guadagnino (Call Me by Your Name), tries to bring too much meaning to its horror conceit.
  9. There are two curious elements to The Land of Steady Habits: writer-director Nicole Holofcener centering a film around a male protagonist; and Ben Mendelsohn giving a regular-guy, mildly comic performance. I wish both experiments had paid off a bit more.
  10. The horror comedy Slice has so many amusing, eyebrow-raising elements that at the very least it entertains as a curiosity.
  11. I’m convinced more of Hawke’s passion for the man than his place in music history.
  12. Despite the strong lead performance and these immersive aesthetics, Madeline remains frustratingly at a distance. Even as the movie puts us inside her head, it somehow fails to illuminate her.
  13. Thoroughbreds has a brazenness that’s promising, then, even if it also seems to be a bit too taken with its characters’ amorality. The movie works hard to make your eyes open wide, but doesn’t seem to realize that a squinting introspection can have its own sort of edge.
  14. Oddly inert, except when it’s blithely nasty, 52 Pick-Up may very well suffer from mismatched sensibilities: those of grim thriller director John Frankenheimer and witty crime novelist Elmore Leonard.
  15. A Woman Under the Influence made me wonder: What’s the point of only showing a mentally challenged character’s distress? Is it fair to reduce Mabel to her rock-bottom experiences?
  16. The Exorcist is provocation at its ugliest.
  17. By the time Streisand takes over the entire movie with the title number, in which the massive waitstaff of an upscale restaurant gathers to sing and dance her praises, I couldn’t help but wonder what all the fuss was about.
  18. The performances are sweltering...This isn’t a good thing. Yes, it’s fitting for the setting – a humid, suffocating Louisiana mansion where the family of an ailing tycoon (Burl Ives) connives to inherit his fortune – but the overall result is like watching a melodrama in a sauna. It’s just too much.
  19. From Gene Kelly’s forced grins to its boldly monochrome sets to the horn-heavy George Gershwin music that is the genesis for the picture, An American in Paris is an all-out assault on the senses. If Kelly’s Singin’ in the Rain, which would come a year later, revels in movie-musical joy, this effort’s defining trait is insistence.

Top Trailers