LarsenOnFilm's Scores

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For 906 reviews, this publication has graded:
  • 48% higher than the average critic
  • 4% same as the average critic
  • 48% lower than the average critic
On average, this publication grades 9.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 75
Highest review score: 100 The Damned Don't Cry
Lowest review score: 25 Friday the 13th
Score distribution:
  1. Positive: 775 out of 906
  2. Mixed: 73 out of 906
  3. Negative: 58 out of 906
906 movie reviews
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  1. The Brutalist
    The Brutalist is a momentous movie, if not quite as momentous as it thinks it is.
  2. 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.
  3. 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.
  4. 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.
  5. First Cow
    Never underestimate what people will do for a beaver hat, a pail of milk, or a warm oily cake.
  6. 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.
  7. Procession
    Greene seems to have produced a respectful account of the experiment, allowing these men to find some form of catharsis without exploiting them.
  8. 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.
  9. 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.
  10. 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.
  11. The Souvenir: Part II
    Detractors might call it navel-gazing, but to me The Souvenir: Part II is introspection to adroit, therapeutic purpose.
  12. 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.
  13. Silent Friend
    Silent Friend ponders ideas of connection and consciousness with a touch that can only be called botanical: slow, serene, sensuous.
  14. 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.
  15. 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.
  16. 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.
  17. 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.
  18. Sorry, Baby
    Remarkably deft for a feature debut—in terms of construction, tone management, and performance—Eva Victor’s Sorry, Baby defies definition.
  19. 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.
  20. 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.
  21. 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.
  22. For Sama
    A shockingly raw combination of first-person reporting and personal video diary.
  23. White Heat
    White Heat is smart enough to give nearly every audience member whatever they could possibly want.
  24. 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.
  25. 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.
  26. Minari
    A tender, fictionalized memoir anchored by two stellar performances.
  27. Barry Lyndon
    Barry Lyndon is a costume epic that pokes fun of other costume epics even as it outdoes them.
  28. 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.
  29. Marty Supreme
    Like Marty, the movie wants to impress us. And like Marty, there’s something about it I don’t trust.
  30. 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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