Josh Larsen

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LarsenOnFilm
For 904 reviews, this critic has graded:
  • 48% higher than the average critic
  • 4% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 8.9 points higher than other critics. (0-100 point scale)

Josh Larsen's Scores

  • Movies
  • TV
Average review score: 75
Highest review score: 100 Son of Saul
Lowest review score: 25 Murder by Death
Score distribution:
  1. Positive: 773 out of 904
  2. Mixed: 73 out of 904
  3. Negative: 58 out of 904
904 movie reviews
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    • 91 Metascore
    • 100 Josh Larsen
    Bambi
    It’s beautiful, powerful stuff. The Disney animators evoke a naturalism of such depth and detail that you feel shrouded by the forest. Then, just when it seems as if you’re watching a nature documentary, bursts of artistry arrive in the form of choreographed raindrops or a wildly impressionistic forest fire.
    • 91 Metascore
    • 75 Josh Larsen
    The Brutalist
    The Brutalist is a momentous movie, if not quite as momentous as it thinks it is.
    • 91 Metascore
    • 88 Josh Larsen
    The Worst Person in the World
    Reinsve gives Julie both a hard edge and soft center, so that we root for her even when she makes decisions with which we disagree.
    • 90 Metascore
    • 88 Josh Larsen
    Licorice Pizza
    Featuring a pair of novice performances that will either make the actors stars or preserve them in cinematic amber as these exact characters, the 1973-set Licorice Pizza marks an ambling, deceptively breezy, and incredibly sweet effort from writer-director Paul Thomas Anderson.
    • 90 Metascore
    • 75 Josh Larsen
    Great Expectations
    As an adaptation of Great Expectations, this is scattershot and unsatisfying, but as a fever dream you might have after reading it, the movie mesmerizes.
    • 90 Metascore
    • 88 Josh Larsen
    First Cow
    Never underestimate what people will do for a beaver hat, a pail of milk, or a warm oily cake.
    • 90 Metascore
    • 88 Josh Larsen
    All of Us Strangers
    Devastation without manipulation. That’s the miracle pulled off by writer-director Andrew Haigh with All of Us Strangers, his supple adaptation of a novel by Taichi Yamada.
    • 90 Metascore
    • 75 Josh Larsen
    Procession
    Greene seems to have produced a respectful account of the experiment, allowing these men to find some form of catharsis without exploiting them.
    • 90 Metascore
    • 75 Josh Larsen
    Blue Is the Warmest Color
    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.
    • 90 Metascore
    • 75 Josh Larsen
    Monsieur Hulot's Holiday
    Though nowhere near as ambitious an undertaking as his 1967 Playtime, this Monsieur Hulot outing is till a delightful example of the gentle satire of silent clown Jacques Tati.
    • 90 Metascore
    • 88 Josh Larsen
    The Birds
    If this works at all it’s because of the sound design: the cacophony of squawks and flapping over the opening credits, followed by incessant tapping, screeching, chirping, fluttering – sometimes in scenes where no birds are present. And then the occasional shock of silence, which is eerier still.
    • 90 Metascore
    • 88 Josh Larsen
    The Souvenir: Part II
    Detractors might call it navel-gazing, but to me The Souvenir: Part II is introspection to adroit, therapeutic purpose.
    • 90 Metascore
    • 75 Josh Larsen
    To Have and Have Not
    The picture’s reason for being is Bacall, whose Marie “Slim” Browning slinks onto the screen asking Harry for matches and walks away with the entire movie.
    • 90 Metascore
    • 88 Josh Larsen
    Small Axe: Mangrove
    By making Frank the quiet focus of the movie, Mangrove becomes a document of both history and humanity—the story of a man rightly radicalized by the institutions oppressing him.
    • 90 Metascore
    • 75 Josh Larsen
    Oppenheimer
    By the time Oppenheimer ends, it becomes more about the interpersonal problems of two miniscule men—miniscule, at least, against the backdrop of the cataclysmic, world-destroying questions and implications it had been exploring.
    • 90 Metascore
    • 88 Josh Larsen
    Paths of Glory
    Hardly a flattering portrait of the military machine, Paths of Glory suggests a soldier’s best hope often is to survive the chaos that his or her own army causes.
    • 90 Metascore
    • 88 Josh Larsen
    High and Low
    Intricate blocking keeps these early scenes visually engaging, but there’s no doubt High and Low takes off once the exec agrees to pay and we’re treated to an elaborate money-drop sequence, with the kidnapper staying one step ahead of the police.
    • 90 Metascore
    • 88 Josh Larsen
    Sorry, Baby
    Remarkably deft for a feature debut—in terms of construction, tone management, and performance—Eva Victor’s Sorry, Baby defies definition.
    • 90 Metascore
    • 88 Josh Larsen
    The Circus
    Mostly the movie registers as a comedy flag being planted, a claim being made. Anything your average clown could do, Chaplin could do better.
    • 89 Metascore
    • 88 Josh Larsen
    Minding the Gap
    Minding the Gap honors the pain of these young men’s lives so fully, it earns the right to conclude with the equivalent of a perfectly executed flip—audacious, improbable, and liberating.
    • 89 Metascore
    • 88 Josh Larsen
    Killers of the Flower Moon
    Scorsese and cinematographer Rodrigo Prieto manage cinematic flourishes that tell us everything we need to know in a particular moment.
    • 89 Metascore
    • 88 Josh Larsen
    For Sama
    A shockingly raw combination of first-person reporting and personal video diary.
    • 89 Metascore
    • 88 Josh Larsen
    White Heat
    White Heat is smart enough to give nearly every audience member whatever they could possibly want.
    • 89 Metascore
    • 88 Josh Larsen
    The Hidden Fortress
    With its epic setting and visual grace, The Hidden Fortress also is a precursor to Crouching Tiger, Hidden Dragon. Watching the movie, though, you’ll be struck less by its influence than by an awesome artistry that’s all its own.
    • 89 Metascore
    • 88 Josh Larsen
    When the Levees Broke: A Requiem in Four Acts
    Rather than take a histrionic approach, Lee trusts his four-hour running time, allowing the evidence of governmental indifference and incompetence to quietly pile up until it becomes cumulatively enraging.
    • 89 Metascore
    • 88 Josh Larsen
    Minari
    A tender, fictionalized memoir anchored by two stellar performances.
    • 89 Metascore
    • 88 Josh Larsen
    Barry Lyndon
    Barry Lyndon is a costume epic that pokes fun of other costume epics even as it outdoes them.
    • 89 Metascore
    • 75 Josh Larsen
    The Farewell
    The Farewell resists any temptation to be a wacky, extended family comedy and instead stays true to the sadness of its central premise.
    • 89 Metascore
    • 75 Josh Larsen
    Marty Supreme
    Like Marty, the movie wants to impress us. And like Marty, there’s something about it I don’t trust.
    • 89 Metascore
    • 100 Josh Larsen
    Captain Blood
    Directed by Michael Curtiz, Captain Blood is much more than a showcase for one of Hollywood’s legends. The action sequences at sea crackle with excitement (and surprisingly intricate special effects), while the well-navigated narrative, based on a book by adventure novelist Rafael Sabatini, has the fatalistic scope of Charles Dickens.
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