LarsenOnFilm's Scores

  • Movies
For 162 reviews, this publication has graded:
  • 43% higher than the average critic
  • 3% same as the average critic
  • 54% lower than the average critic
On average, this publication grades 9.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 73
Highest review score: 100 The Act of Killing
Lowest review score: 25 Friday the 13th
Score distribution:
  1. Negative: 18 out of 162
162 movie reviews
  1. It Chapter Two has structural problems, character problems, and aesthetic problems.... But the movie’s main issue is an unexamined streak of cruelty.
  2. Nimbly and unassumingly, this relatively straightforward anthropological study blossoms into both a socioeconomic commentary on the dangers of globalization and a biblically resonant parable about our relationship with the environment.
  3. Ungainly in many ways (inconsistent in tone, unconvincing in locale, contrived in its plotting), Where’d You Go, Bernadette manages two stellar sequences that are raw and truthful enough to salvage the movie.
  4. There has been debate over the graphic depiction of violence in the film, which is sickening and unblinking. Still, the explicitness undoubtedly forces you to face the brutal trauma that was inflicted upon women in this particular time and place—indeed, has been inflicted throughout history.
  5. I laughed a great deal at the bad-boy banter during Fast & Furious Presents: Hobbs & Shaw. I also thought the action stood up alongside anything else in the franchise. But the thing I enjoyed the most about this riotously ridiculous movie is that way it functions as a near-brilliant exercise in cinematic parallelism.
  6. Once Upon a Time … in Hollywood is a twilight film in more ways than one.
  7. The Farewell resists any temptation to be a wacky, extended family comedy and instead stays true to the sadness of its central premise.
  8. Like Hereditary, Midsommar functions as an outlandish imagining of the effects of personal trauma, especially for someone who already struggles with an unsteady mind. Yet the psychology and the horror aren’t quite as holistically handled this time around.
  9. Like its predecessor, Spider-Man: Homecoming, Spider-Man: Far From Home is content to be a high-school movie first and a superhero saga second.
  10. Chris Hemsworth and Tessa Thompson are the reason to see Men in Black: International—she has a comic precision that nicely deflates his humorous hubris—but for some reason the movie doesn’t bring them together until a third of the way in, after failing to establish any real sense of their characters.
  11. No, Toy Story 4 isn’t necessary. Yes, Toy Story 4 is fun. Does it end in a way that’s worthy of the series, and Woody in particular? We’ll get there.
  12. When The Dead Don’t Die sputters, you fear that Jarmusch’s political angst may have paralyzed him. But then there is the bleak, sardonic beauty of the climactic scene.
  13. For all its pointed critique, The Last Black Man in San Francisco also offers a fair amount of whimsy.
  14. Watching The Souvenir is like watching a friend drown, and being unable to help.
  15. A mostly meaningless film about meaninglessness, Under the Silver Lake nonetheless has enough fetid charm to justify wasting a few hours on it. After all, the movie ultimately suggests that wasting our time is the best we can do in this rotten, rigged life.
  16. As the hapless students flounder about, putting all their foibles on display, Booksmart always maintains a kind and understanding gaze. It’s a movie that wants to be there for its subjects.
  17. 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.
  18. The movie is, mostly, interested in Adele’s interior life more than her exterior features. And in those moments where the reverse is true (they’re there), Exarchopoulos rightly refocuses the attention with an extraordinarily evocative performance of a confused, conflicted teen.
  19. With a mixture of cheeky stock footage (including, yes, Charlton Heston’s The Ten Commandments), ironic soundtrack choices, and abrupt edits that function as record-scratch exclamation points, Lane’s film breezily stays above the fray.
  20. Anyone who’s seen Beau Travail knows that Denis is a master of color. Here she uses the ship’s lighting system to shift between cool, medical blues and warm, arousing reds. And in the “garden,” a lush conservatory space where the crew grows their food, the deep greens evoke a primordial Eden, a place where nakedness carried no shame. The goings-on in High Life—including two instances of sexual assault—are like a crash landing into the Fall.
  21. Diane is brutally honest about the losses that can define this stage of life.
  22. Endgame provides something truly satisfying: a sense of closure.
  23. It’s as if Moss is directing the movie through her performance.
  24. This bloated, big-screen take on the DC comic is dumb, but not nearly dumb enough.
  25. 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.
  26. As Starfish becomes a more obvious personal metaphor involving betrayal and forgiveness, it also becomes a bit less interesting—even as it still marks White as an ambitious talent to watch.
  27. Us
    Working with cinematographer Mike Gioulakis, editor Nicholas Monsour, and composer Michael Abels, Peele has once again constructed a movie experience that functions first and foremost on the level of sheer terror. From the drops of doom on the soundtrack to a POV camera that frequently puts us face to face with horror, Us turns identity politics into the stuff of nightmares.
  28. In the fractured funhouse mirror that is Transit, contemporary France by way of World War II looks an awful lot like the United States in 2019.
  29. Boden and Fleck do deliver a crackerjack, climactic comic-book sequence that stands as one of my favorite moments in all of the MCU.
  30. 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.

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