For 2,131 reviews, this critic has graded:
  • 52% higher than the average critic
  • 2% same as the average critic
  • 46% lower than the average critic
On average, this critic grades 1.2 points higher than other critics. (0-100 point scale)

Mick LaSalle's Scores

  • Movies
Average review score: 60
Highest review score: 100 The Past
Lowest review score: 0 Are We There Yet?
Score distribution:
2,131 movie reviews
    • 63 Metascore
    • 25 Mick LaSalle
    Scorsese stuffs the film with heavy-handed art direction and piles on a ludicrously ominous soundtrack. The soundtrack is a constant reminder of the movie's importance and only highlights its unimportance.
    • 42 Metascore
    • 25 Mick LaSalle
    Holes in the script, overwrought camera work, dialogue that's embarrassing, and a plot device that's obvious 10 minutes into the movie - all these are major problems.
    • 65 Metascore
    • 25 Mick LaSalle
    The film ends up landing in a confused middle category. It's neither a coherent, discrete work nor a zany tribute to the late actor.
    • 35 Metascore
    • 25 Mick LaSalle
    Take the worst things about independent movies - the wallowing in an unpleasantness, the narrative unsteadiness, the next-to-no story. Then combine those with a hefty dose of light comedy. The result: the big, fat tonal mess that is Happy Tears, a charmless film about two sisters who come together to care for their demented father.
    • 49 Metascore
    • 25 Mick LaSalle
    John Lennon once said, "There's a great woman behind every idiot." This time, I'm counting seven of them.
    • 27 Metascore
    • 25 Mick LaSalle
    Sometimes it's unpleasant, sometimes it's insincere, and for long stretches it's boring.
    • 67 Metascore
    • 25 Mick LaSalle
    Moon is boring. Agonizingly, deadeningly, coma-inducingly, they-could-bury-you-alive-accidentally boring.
    • 34 Metascore
    • 25 Mick LaSalle
    It's a gorefest, a borefest and a snorefest.
    • 32 Metascore
    • 25 Mick LaSalle
    Saint John of Las Vegas was a bad script that somehow got made into a bad movie with good people in it.
    • 31 Metascore
    • 25 Mick LaSalle
    Represents his (Smith) first act of cinematic cynicism, his first crime against his own talent. With this action comedy, he has given us 110 worthless minutes, a bad formula movie like every other bad formula movie.
    • 52 Metascore
    • 25 Mick LaSalle
    When Christian Bale allowed himself to play Bruce Wayne in "Batman Begins," he was slumming - and to good effect. But with Terminator Salvation, this ostensibly serious actor takes up residence in the action ghetto, and it's not a good fit.
    • 64 Metascore
    • 25 Mick LaSalle
    Director Edward Zwick tried to make a great movie, but somewhere in the process he forgot to make a good one.
    • 70 Metascore
    • 25 Mick LaSalle
    The movie's excruciating length is without dramatic or thematic justification.
    • 41 Metascore
    • 25 Mick LaSalle
    The result is that rare movie specimen, a completely intentional, expertly guided work of art that fails almost completely.
    • 56 Metascore
    • 25 Mick LaSalle
    This isn't pleasant to watch. Neither is it amusing, intellectually engaging, whimsically fascinating, coldly satirical or painfully poignant, though at any given moment in this erratic film director Tom Tykwer might be trying for one of these conflicting tones.
    • 69 Metascore
    • 25 Mick LaSalle
    More than confusing. It's opaque.
    • 51 Metascore
    • 25 Mick LaSalle
    Has a gutsy premise, but no guts.
    • 64 Metascore
    • 25 Mick LaSalle
    Che
    If Soderbergh's ambition was to make us feel just how dull it would be to a woods-dwelling communist guerrilla, he succeeded.
    • 59 Metascore
    • 25 Mick LaSalle
    "Spider-Man 2" was a textbook example of how to make a sequel: Deepen it, make it funnier, give it more heart and come up with a strong villain and a good story. Spider Man 3, by contrast, shows how not to make a sequel.
    • 54 Metascore
    • 25 Mick LaSalle
    The bad outweighs the good and the cringes outnumber the laughs in Brüno, a disappointment from Sacha Baron Cohen, whose "Borat" was one of the funniest movies of the decade.
    • 57 Metascore
    • 25 Mick LaSalle
    Owen is a magnetic, sensitive presence at the center of a movie that doesn't deserve him and that barely deserves to be seen.
    • 34 Metascore
    • 25 Mick LaSalle
    Another inert, soul-dead action drama that turns actors into zombies...It's garbage.
    • 35 Metascore
    • 25 Mick LaSalle
    A thriller without thrills. It's also a thriller that cheats. The story is stretched to feature length only by having the film's incidents arranged in such a way as to reveal as little as possible.
    • 50 Metascore
    • 25 Mick LaSalle
    The movie isn't hellish, because there's always hope of leaving it. It's more like purgatory, two whole hours of it.
    • 31 Metascore
    • 25 Mick LaSalle
    A third-rate effort, with a weak script, cheap-looking effects and no genuine frights.
    • 44 Metascore
    • 25 Mick LaSalle
    This is a half-hearted, derivative action film with not a single honest artistic impulse behind it.
    • 68 Metascore
    • 25 Mick LaSalle
    Its story meanders and doesn't build, and the pace is deadly.
    • 44 Metascore
    • 25 Mick LaSalle
    Perfunctory, thrill- free sequel.
    • 41 Metascore
    • 25 Mick LaSalle
    An adventure in mediocrity that brings together some of the worst current techniques and trends.
    • 59 Metascore
    • 25 Mick LaSalle
    It's dreadful, but it's a special kind of dreadful -- the kind designed to appeal to intelligent people on principle.
    • 45 Metascore
    • 25 Mick LaSalle
    Not only not funny, it's unfunny. It kills humor. Sit in a room by yourself, look at a blank screen for 90 minutes, and you'll have more of a chance of laughing at your own thoughts than you will at this movie.
    • 35 Metascore
    • 25 Mick LaSalle
    110 minutes of Euro silliness mitigated only by the presence of Huppert and the striking ability of the actors to keep a straight face throughout this mess.
    • 55 Metascore
    • 25 Mick LaSalle
    The film is glossy, but awful. Frenetic, but awful. Expensive, but awful. ... And awful.
    • 27 Metascore
    • 25 Mick LaSalle
    There's just the matter of facing it: that The Perfect Man is just something slapped together -- by people who don't care, for an audience they figure will care even less.
    • 55 Metascore
    • 25 Mick LaSalle
    Yes
    Mostly unbearable.
    • 40 Metascore
    • 25 Mick LaSalle
    They take on special powers that the filmmakers are incapable of making interesting, partly because the characters are ciphers, and partly because the story is listless and uninventive.
    • 35 Metascore
    • 25 Mick LaSalle
    It's astonishing what little impact even the most imaginatively choreographed and well-filmed aerial escapades can have when they're presented as neither an expression of a character's personality, nor in the context of a compelling mission.
    • 51 Metascore
    • 25 Mick LaSalle
    It's the cinematic equivalent of an all-dessert meal: After the initial jolt, the lack of any real nourishment is apparent, and it becomes a struggle to stay awake.
    • 33 Metascore
    • 25 Mick LaSalle
    Arrives in theaters today with a sheet over its head and a tag on its toe. So to speak. What we have here is a complete systemic failure, a comedy that's not funny, with action that's not thrilling.
    • 47 Metascore
    • 25 Mick LaSalle
    Has no truth, wisdom or honesty, and it's barely entertaining.
    • 47 Metascore
    • 25 Mick LaSalle
    Yet, it's watchable -- not remotely enjoyable, but watchable.
    • 36 Metascore
    • 25 Mick LaSalle
    It's hard to sit all the way through Aeon Flux while fully awake.
    • 81 Metascore
    • 25 Mick LaSalle
    On its own terms, the film is overlong, repetitive and lacks impact. Even if this were the first gorilla-in-love movie ever made, audiences would come away vaguely dissatisfied, suspecting there was an intriguing idea buried somewhere in here, but it didn't quite come off.
    • 56 Metascore
    • 25 Mick LaSalle
    Bezucha made something perverse, a feel-bad holiday film about a repellent family, with a milquetoast dad and a smug, devious harpy of a mom.
    • 83 Metascore
    • 25 Mick LaSalle
    In the important things, in all the ways that really count, Caché is a handsome fraud.
    • 49 Metascore
    • 25 Mick LaSalle
    Everything connected with the lovers, who are the point of the movie, is either ordinary or unwittingly funny, and the laughs come early.
    • 46 Metascore
    • 25 Mick LaSalle
    The film is obvious, weak and scattered and seems more like a practical joke than a work of genuine passion. It is without exaggeration one of the most blindingly boring films I've seen in years.
    • 40 Metascore
    • 25 Mick LaSalle
    An attempt at a beautiful film about renewal -- about past love, love lost, longing and rediscovery -- but it has no emotional truth.
    • 58 Metascore
    • 25 Mick LaSalle
    With Hard Candy, the innocent are tortured along with the guilty -- the innocent, in this case, being the audience.
    • 23 Metascore
    • 25 Mick LaSalle
    A big disappointment.
    • 33 Metascore
    • 25 Mick LaSalle
    RV
    RV is a horrible movie about horrible people, and just because they call it a comedy doesn't mean we have to play along.
    • 29 Metascore
    • 25 Mick LaSalle
    The picture gives us two protagonists and sets up a situation in which only one of them can have a decent life. Then, having devised this sour souffle, the screenwriters find no adjustment to make it palatable. The resolution is flip, at best.
    • 75 Metascore
    • 25 Mick LaSalle
    This is not one of the good Altmans. This isn't even one of the mediocre Altmans.
    • 46 Metascore
    • 25 Mick LaSalle
    Lucas Black, who looks as much like a high school kid as George Bernard Shaw, speaks in a thick Southern accent that hasn't been heard on any leading man since the second act of "Our American Cousin."
    • 53 Metascore
    • 25 Mick LaSalle
    More than the usual bad or even numbingly horrible movie. It's an amalgam of many of the modern cinema's worst tendencies and modern filmmaking's most unfortunate misconceptions.
    • 53 Metascore
    • 25 Mick LaSalle
    Imagine the worst "Deadwood" episode ever, and you'll get an idea of the general tone of Beowulf & Grendel, which is full of anachronistic cursing, tortured syntax, dark humor and lots of hairy, homely, filthy-looking people.
    • 46 Metascore
    • 25 Mick LaSalle
    It's just off, odd and joyless.
    • 33 Metascore
    • 25 Mick LaSalle
    There's no satisfaction and no pleasure to be gained by sitting through it. The characters are ludicrous and, worse than that, boring. And this is despite all the lead actors doing the best they can.
    • 37 Metascore
    • 25 Mick LaSalle
    It's just horsing around that comes to nothing. No, it's worse. It's horsing around designed to disguise nothing as something.
    • 65 Metascore
    • 25 Mick LaSalle
    Coppola has no trouble convincing viewers that Marie Antoinette is an interesting historical subject, but there's a big distance between that and creating a fascinating personality or fashioning a compelling narrative.
    • 66 Metascore
    • 25 Mick LaSalle
    Thus, we find ourselves watching an ice-cold movie about competition that contains not a shred of rooting interest.
    • 49 Metascore
    • 25 Mick LaSalle
    Depictions of an aide talking about her hospital vigil and her words of comfort to a distraught Laura Bush are creepy and exploitative -- and borderline disgusting.
    • 36 Metascore
    • 25 Mick LaSalle
    These people are so stupid that they make us think, well, wait a second: Maybe those livers and kidneys could be put to better use.
    • 49 Metascore
    • 25 Mick LaSalle
    Blanchett's performance is Soderbergh's biggest mistake. He either encourages or permits her to play Lena as a Greta Garbo caricature, which is mildly amusing if you're interested in Garbo, but if you're interested in Lena and The Good German, you're out of luck.
    • 26 Metascore
    • 25 Mick LaSalle
    It's a dreadful exercise, tin-eared and sincere, bereft of any truth or inspiration.
    • 34 Metascore
    • 25 Mick LaSalle
    For all it does right, there's something seriously wrong.
    • 25 Metascore
    • 25 Mick LaSalle
    The film is intended to be light and whimsical, but with a core of sincere emotion. But it's as if the thing were made by Martian anthropologists who assume that human audiences are as twisted as the people onscreen.
    • 50 Metascore
    • 25 Mick LaSalle
    Has no narrative throughline, no emotional spine. It's a mess.
    • 37 Metascore
    • 25 Mick LaSalle
    A limp, slow-moving and desperately unfunny comedy.
    • 59 Metascore
    • 25 Mick LaSalle
    A whimsical but flat-footed attempt to account for several lost months in the life of Jean-Baptiste Poquelin, known to the world as Molière.
    • 50 Metascore
    • 25 Mick LaSalle
    It takes a winning recipe and adds some distinctly Hollywood flavors...The result is a botched job.
    • 46 Metascore
    • 25 Mick LaSalle
    There's something painful about watching Scarlett Johansson, who looks as if she never had an indecisive moment in her life, struggle to seem ineffectual.
    • 54 Metascore
    • 25 Mick LaSalle
    A complete bust, but the ways in which it fails are interesting.
    • 67 Metascore
    • 25 Mick LaSalle
    A frustrating movie, a work of immaturity from a director who should be past the empty gestures and self-protective distance of his early work.
    • 48 Metascore
    • 25 Mick LaSalle
    It's off in many directions - false in its details, false in its relationships, false in its emotions - but probably the first and worst thing that needs to be said about it is that it's also overlong and dull.
    • 42 Metascore
    • 25 Mick LaSalle
    This is just plain bad - and it's a surprise.
    • 73 Metascore
    • 25 Mick LaSalle
    Anyone can make a bad movie, but it takes a good filmmaker to make one as bad as I'm Not There.
    • 47 Metascore
    • 25 Mick LaSalle
    It gets worse and worse as it goes along and finally ends just as it's becoming unbearable.
    • 29 Metascore
    • 25 Mick LaSalle
    A romantic comedy and an adventure story, but in this case that just means it bombs in two distinct ways.
    • 52 Metascore
    • 25 Mick LaSalle
    Inside 10 minutes, at most 15, Be Kind Rewind reveals itself as an awful mess, and it only gets worse.
    • 40 Metascore
    • 25 Mick LaSalle
    Vantage Point has nothing going on. There's no artistic, philosophical or even jolly entertainment reason for adopting this strategy. It's just arbitrary, a gimmick.
    • 41 Metascore
    • 25 Mick LaSalle
    Another dreadful, not-funny Owen Wilson movie, in which Wilson is the best thing.
    • 37 Metascore
    • 25 Mick LaSalle
    This is a story that should have been, at the absolute most, 20 minutes long.
    • 66 Metascore
    • 25 Mick LaSalle
    If it happens to hit you right - that is, if you happen to catch its wavelength of tear-and-a-smile whimsicality - the movie will speak to you.
    • 62 Metascore
    • 25 Mick LaSalle
    Exactly one minute longer than its predecessor, but it's a dragged-out exercise, with no epic scale and no spirit worth talking about.
    • 47 Metascore
    • 25 Mick LaSalle
    Here's the tricky thing about The Strangers. Sure, it uses cinema to ends that are objectionable and vile ... but it does it well, with more than usual skill.
    • 54 Metascore
    • 25 Mick LaSalle
    Serious intent may be lurking somewhere in there, but it's buried under layers of stupidity - not just stupid jokes, which is what you want from Sandler, but also stupid, shallow thinking.
    • 54 Metascore
    • 25 Mick LaSalle
    Remaking Get Smart for the big screen might have sounded like a bad idea, but the movie shows it to have been something else: a REALLY bad idea.
    • 53 Metascore
    • 25 Mick LaSalle
    Australia shows all the signs of having been a labor of love for director Baz Luhrmann. One problem: It's his love, and the audience's labor.
    • 31 Metascore
    • 25 Mick LaSalle
    As for Fraser, his clumsy humanity is endearing, but by now, assuming he has invested wisely, he should have enough money saved so as to not have to waste his talent anymore.
    • 37 Metascore
    • 25 Mick LaSalle
    The first and most honest thing to say about Miracle at St. Anna is that it's an awful mess.
    • 31 Metascore
    • 25 Mick LaSalle
    With its flat story, numbed-out protagonist, and faux artistic lighting and set design - everything is dark or moody or darkishly moody or moodily dark - Max Payne seems a good half hour longer than its running time.
    • 53 Metascore
    • 25 Mick LaSalle
    RocknRolla attempts to depict a world of ever-expanding chaos. But the chaos is only in the way the story is told. The actual vision Ritchie offers is pedestrian and tame.
    • 45 Metascore
    • 25 Mick LaSalle
    A single 125-minute monstrosity of a cop movie.
    • 38 Metascore
    • 25 Mick LaSalle
    A mess.
    • 46 Metascore
    • 25 Mick LaSalle
    The comedy, to the extent there is any, consists mainly of Carrey's verbal asides and strained reactions to people. The script gives him very little to work with.
    • 57 Metascore
    • 25 Mick LaSalle
    Witless banter might have won Ginger Rogers for Fred Astaire, but Thompson is too smart for that.
    • 40 Metascore
    • 25 Mick LaSalle
    In its second half, Outlander falls apart completely, becoming nothing but a violent, mindless monster movie along the lines of "Alien vs. Predator."
    • 36 Metascore
    • 25 Mick LaSalle
    Two awful things about Push are at least interesting: The first is the way in which the story is confused. The second is that the story makes no sense.
    • 40 Metascore
    • 25 Mick LaSalle
    Credit the director for one thing. He could have stretched it to three hours, but he gets in and out of this mess in less than two.