For 2,235 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 0.9 points higher than other critics. (0-100 point scale)

Mick LaSalle's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Shopgirl
Lowest review score: 0 It Runs in the Family
Score distribution:
2,235 movie reviews
    • 45 Metascore
    • 25 Mick LaSalle
    Spins an unconvincing, miscast noir tale.
    • 40 Metascore
    • 25 Mick LaSalle
    A movie like this depends on clever bits and incidents, but there's little invention here to disguise the film's formulaic nature.
    • 36 Metascore
    • 25 Mick LaSalle
    Has a vacant, inept, why-oh-why feeling from its opening minutes and only gets worse.
    • 37 Metascore
    • 25 Mick LaSalle
    The movie's most inexcusable failing is that, despite all the flashbacks, we never get a sense of what this relationship was like when it worked.
    • 10 Metascore
    • 25 Mick LaSalle
    Ugly. ..and unpleasant -- and clueless on a grand scale.
    • 33 Metascore
    • 25 Mick LaSalle
    Father-daughter relationship lacks impact.
    • 48 Metascore
    • 25 Mick LaSalle
    The film is like watching a very bad play as presented by a very bad director.
    • 35 Metascore
    • 25 Mick LaSalle
    Williamson's script, which he also directed, is spiteful and shallow.
    • 73 Metascore
    • 25 Mick LaSalle
    The movie suffers from two fatal ailments -- a dearth of vitality and a story that's shapeless and uninflected.
    • 62 Metascore
    • 25 Mick LaSalle
    It tries to get by on charm. It doesn't.
    • 29 Metascore
    • 25 Mick LaSalle
    We all know how actors overact when they play Italians, and we all know how actors overact when they play brain-damaged characters, so just imagine Knight's performance as a brain-damaged Italian American.
    • 49 Metascore
    • 25 Mick LaSalle
    Behind Enemy Lines has a wretched script and a director (first-timer John Moore) who either has no taste or doesn't know what he's doing.
    • 35 Metascore
    • 25 Mick LaSalle
    A stink bomb of a movie.
    • 30 Metascore
    • 25 Mick LaSalle
    Neither original nor presented in a convincing way.
    • 37 Metascore
    • 25 Mick LaSalle
    Has many grotesque sex scenes, interspersed with sights of Chong rambling in a dissociated way as she sits in her squalid apartment.
    • 49 Metascore
    • 25 Mick LaSalle
    A whimsical modern fairy tale.
    • 44 Metascore
    • 25 Mick LaSalle
    One pities poor Molly Parker, a fine actress who was somehow persuaded to disrobe for this degrading and dispiriting Wayne Wang film.
    • 70 Metascore
    • 25 Mick LaSalle
    It wimped out by blanding down the story and the characters to the point where she isn't really a shrew and he isn't really a maniac.
    • 31 Metascore
    • 25 Mick LaSalle
    It's hard to tell if Cage's performance is a grand stab at all-out, no-holds-barred comic acting or one of the worst dramatic performances in a film this year. [2 June 1989, Daily Datebook, p.E8]
    • San Francisco Chronicle
    • 73 Metascore
    • 25 Mick LaSalle
    It will bring joy in a way certainly not intended, as one of the most gloriously and unwittingly silly films ever devised by a major American filmmaker.
    • 54 Metascore
    • 25 Mick LaSalle
    The effect of the 2 1/2-hour film is deadening.
    • 51 Metascore
    • 25 Mick LaSalle
    It's one of those self-consciously cute pictures, about as hard to take as a person who stands in front of a mirror and preens all day. [23 Mar 1990, Daily Datebook, p.E1]
    • San Francisco Chronicle
    • 56 Metascore
    • 25 Mick LaSalle
    The picture, for all its slickness and style, is empty, empty-headed and emotionally false… [It] has no more depth than "Pretty Woman" and occupies the same moral landscape. [5 Apr 1991, Daily Datebook, p.E11]
    • San Francisco Chronicle
    • 65 Metascore
    • 25 Mick LaSalle
    Goes nowhere.
    • 17 Metascore
    • 25 Mick LaSalle
    Just awful… There is probably not one interrupted 60-second stretch in which a line of dialogue doesn't clunk, an action doesn't ring false or an irritating plot turn doesn't present itself. [25 May 1991]
    • San Francisco Chronicle
    • 26 Metascore
    • 25 Mick LaSalle
    Just awful. But uniquely awful -- awful in a way that might just attract a cult audience. [3 Sept 1993]
    • San Francisco Chronicle
    • 34 Metascore
    • 25 Mick LaSalle
    With most movies that fail, the fault can be ascribed to carelessness or lack or inspiration or cynicism. But Chelsea Walls, directed by actor Ethan Hawke, is clearly a labor of love.
    • 12 Metascore
    • 25 Mick LaSalle
    A discordant comedy that gives bad taste a bad name.
    • 58 Metascore
    • 25 Mick LaSalle
    A noble attempt that doesn't hang together.
    • 44 Metascore
    • 25 Mick LaSalle
    A repellent, stupid film.
    • 67 Metascore
    • 25 Mick LaSalle
    There's a lot of bad hair and incoherent, drug-addled remarks, but inside a minute we get the joke, and it isn't much.
    • 27 Metascore
    • 25 Mick LaSalle
    An awkward comedy made surprisingly bearable, most of the way, by one actress' ability to turn on the charm and sparkle.
    • 61 Metascore
    • 25 Mick LaSalle
    The movie's promise -- to provide a balanced argument -- goes unrealized, and all we're left with is the spectacle of an idiot bullying a genius.
    • 25 Metascore
    • 25 Mick LaSalle
    A funny comedy for about 90 seconds. Then Bette Midler goes off a cliff.
    • 65 Metascore
    • 25 Mick LaSalle
    An overwrought drama.
    • 43 Metascore
    • 25 Mick LaSalle
    No longer fresh -- though that's to be expected in a sequel -- it contains none of the virtues that made the first one anarchic and original.
    • 65 Metascore
    • 25 Mick LaSalle
    A film with no theatrical core and no integrity in the writing, acting or storytelling.
    • 72 Metascore
    • 25 Mick LaSalle
    Mean-spirited and not remotely clever, though it strives for archness at every turn.
    • 49 Metascore
    • 25 Mick LaSalle
    A sour misfire.
    • 63 Metascore
    • 25 Mick LaSalle
    It provokes nothing but yawns, and the sex it explores is stuff everybody knows about and says, "So what?"
    • 59 Metascore
    • 25 Mick LaSalle
    Promised to be the season's thoughtful action picture, turns out to have few thoughts and no thrills.
    • 74 Metascore
    • 25 Mick LaSalle
    Great to look at but not much fun to watch… An emotionally uncommitted picture that's smirky and mawkish, by turns, and at heart, empty. [14 Dec 1990, Daily Datebook, p.E1]
    • San Francisco Chronicle
    • 32 Metascore
    • 25 Mick LaSalle
    An overblown action monstrosity with no surprises, no exhilaration and no thrills.
    • 53 Metascore
    • 25 Mick LaSalle
    In an attempt to be complex and fair-minded, a simple story becomes a jumble of confused motivations.
    • 35 Metascore
    • 25 Mick LaSalle
    Could hardly be called a success -- it's rather a likable disaster.
    • 60 Metascore
    • 25 Mick LaSalle
    The result is a frustrating, boring mess.
    • 37 Metascore
    • 25 Mick LaSalle
    It's a big disappointment.
    • 40 Metascore
    • 25 Mick LaSalle
    Maybe there's a metaphor here, but figuring it out wouldn't make Trouble Every Day any better.
    • 27 Metascore
    • 25 Mick LaSalle
    A childish, empty effort.
    • 67 Metascore
    • 25 Mick LaSalle
    It's two hours of your life wasted, time once spent that can never be regained. Don't go. Don't do it. [30 Mar 1988]
    • San Francisco Chronicle
    • 26 Metascore
    • 25 Mick LaSalle
    Has to go down as a failed comedy. It's just not enough of a comedy.
    • 52 Metascore
    • 25 Mick LaSalle
    An utter debacle.
    • 19 Metascore
    • 25 Mick LaSalle
    To call this effort misguided would be kind. The job this "prequel" does on the original Dumb and Dumber is the movie equivalent of surgery that removes all the vital organs and then gives the patient a prosthetic third arm. What's needed isn't there, and what's here we don't need.
    • 21 Metascore
    • 25 Mick LaSalle
    While the plot is worthless and the battle scenes cheap-looking and unengrossing, Wing Commander has clearly defined characters and relationships. In other words, the film's young actors have nothing interesting to say, but they say it well.
    • 70 Metascore
    • 25 Mick LaSalle
    Liotta's acting can't redeem senseless violence.
    • 32 Metascore
    • 25 Mick LaSalle
    Nothing but a showcase for the inherent comedic gifts of Cameron Diaz. The problem is she doesn't have any.
    • 32 Metascore
    • 25 Mick LaSalle
    It's a romantic comedy with insights into sex and relationships that are old and obvious.
    • 25 Metascore
    • 25 Mick LaSalle
    What we have is the case of a movie with a straight man (Jason Lee) who really is funny, but with a comic (Tom Green) who sadly isn't.
    • 14 Metascore
    • 25 Mick LaSalle
    The audience has already checked out, long before the formulaic finish.
    • 68 Metascore
    • 25 Mick LaSalle
    The movie is overplotted, a soulless maze of special effects and relentless action.
    • 65 Metascore
    • 25 Mick LaSalle
    By the end A.I. exhibits all its creators' bad traits and none of the good. So we end up with the structureless, meandering, slow-motion endlessness of Kubrick combined with the fuzzy, cuddly mindlessness of Spielberg.
    • 41 Metascore
    • 25 Mick LaSalle
    All the movie's narrative gymnastics can't disguise the fact that it's inauthentic at its core and that its story just isn't worth telling.
    • 23 Metascore
    • 25 Mick LaSalle
    Falls apart immediately, then limps on for 45 minutes more.
    • 42 Metascore
    • 25 Mick LaSalle
    An action blockbuster that's one of the biggest misfires in its genre since "Godzilla."
    • 64 Metascore
    • 25 Mick LaSalle
    Midway, Mondays in the Sun becomes as dull as a day with nothing to do.
    • 45 Metascore
    • 25 Mick LaSalle
    SWAT is better than "Gigli," but so is most outpatient surgery.
    • 40 Metascore
    • 25 Mick LaSalle
    Friedkin is steeped in gore, like some cinematic Macbeth, and it's obscuring his artistic vision.
    • 53 Metascore
    • 25 Mick LaSalle
    The moments of action are interspersed with lengthy plot developments that are hard to follow.
    • 27 Metascore
    • 25 Mick LaSalle
    Harmon proves that he can act stupid, and that's not enough to make the movie funny… You're supposed to like Freddy (Harmon), and you're supposed to like his brainless students… But you hate everybody. [24 July 1987]
    • San Francisco Chronicle
    • 27 Metascore
    • 25 Mick LaSalle
    It's as close to nothing as anything could be while still being something.
    • 19 Metascore
    • 25 Mick LaSalle
    Why was the sight of scrawny Woody Allen kissing pretty Diane Keaton never revolting, while scrawny David Spade kissing beautiful Sophie Marceau in Lost & Found is the creepiest cinematic sight of the year?
    • 33 Metascore
    • 25 Mick LaSalle
    These are good moments, and there are a few others, that prevent Tomb Raider from being one of the worst films of the year. But they're not enough to make it worth seeing.
    • 12 Metascore
    • 25 Mick LaSalle
    At times, it actually hurts to watch.
    • 23 Metascore
    • 25 Mick LaSalle
    About as weak a movie as can be made without actively trying.
    • 59 Metascore
    • 25 Mick LaSalle
    Convoluted.
    • 65 Metascore
    • 25 Mick LaSalle
    A ponderous and dreadful film.
    • 30 Metascore
    • 25 Mick LaSalle
    It's a plodding, episodic film, reverent and sanctimonious, and its pro-Southern viewpoint -- a time-honored Hollywood tendency -- makes "Gone With the Wind" look like a Northern polemic.
    • 73 Metascore
    • 25 Mick LaSalle
    Here's a tiresome feature that could be made into a wonderful 20-minute film -- or, with a few adjustments, into two or three 10-minute shorts.
    • 32 Metascore
    • 25 Mick LaSalle
    A disgrace to the talents of Robert De Niro and Eddie Murphy, but it's not enough just to say that. It's also a disgrace to the talents of Rene Russo and whoever drove the coffee truck to the set every day.
    • 16 Metascore
    • 25 Mick LaSalle
    What's completely baffling is that everyone in the film thinks Nomi is one heck of a dancer, even though her one move -- throwing her arms out stiffly -- is straight out of "Dr. Strangelove."
    • 39 Metascore
    • 25 Mick LaSalle
    This is strictly formula stuff, made worse by an utterly careless depiction of the characters.
    • 30 Metascore
    • 25 Mick LaSalle
    A wretched comedy about middle-aged romance.
    • 33 Metascore
    • 25 Mick LaSalle
    Super- violent, super-serious and super-stupid.
    • 64 Metascore
    • 25 Mick LaSalle
    Numbing and inert.
    • 43 Metascore
    • 25 Mick LaSalle
    The strain and desperation are apparent from the first scene.
    • 43 Metascore
    • 25 Mick LaSalle
    This seemingly good idea results in disaster. Allen has no insight into the current generation of young people, and his film is just a jumbled rehash of themes and motifs that he's explored elsewhere.
    • 42 Metascore
    • 25 Mick LaSalle
    Heartfelt but interminable movie.
    • 69 Metascore
    • 25 Mick LaSalle
    It boggles the mind that after six years of silence, all Tarantino has to offer is this garbage.
    • 37 Metascore
    • 25 Mick LaSalle
    There's no point complaining that Honey is a tired reworking of an old formula, because it's intended for a young audience that doesn't know the formula.
    • 58 Metascore
    • 25 Mick LaSalle
    A long-winded indulgence in tear-and-a-smile whimsy, elevated above the merely irritating and saccharine by compelling art direction.
    • 35 Metascore
    • 25 Mick LaSalle
    A dull film with unsympathetic characters brought together by a gimmicky premise that's handled with no imagination and a pristine fraudulence of emotion. Aside from that, it's great.
    • 42 Metascore
    • 25 Mick LaSalle
    A dreadful exercise, with a script full of contradictions and empty gestures and a leading lady who's such a novice it hurts to watch her.
    • 26 Metascore
    • 25 Mick LaSalle
    Not surprisingly, only Samuel L. Jackson seems fully to understand that he's in a bad movie, and he makes a virtue of it, using it as an excuse to hang loose, overact and ride the scenes for wherever they might go.
    • 26 Metascore
    • 25 Mick LaSalle
    One could criticize A Night at the Roxbury for being a comedy that provides not a single laugh. That would be too easy.
    • 37 Metascore
    • 25 Mick LaSalle
    So desperate and silly that here and there, it's a lot of fun.
    • 70 Metascore
    • 25 Mick LaSalle
    This is an embarrassing film. It's a sex comedy that sets itself up as a satire of middle-class mores, except there's no truth behind any of its observations. LaBute tries to be shocking and manages only to be shockingly puerile -- tasteless in a high-school-boyish sort of way.
    • 45 Metascore
    • 25 Mick LaSalle
    One of those comedies in which almost everything good about it is extraneous. There are funny lines and quirky bits, but in terms of story and character, the movie is empty and pointless.
    • 27 Metascore
    • 25 Mick LaSalle
    The overall premise, involving mental illness and suicide, isn't all that funny, at least not in practice, and the picture begins to seem labored and long.
    • 31 Metascore
    • 25 Mick LaSalle
    The film is neither fish nor fowl nor some arresting new entity, but a lumpish coagulation of conflicting impulses and unrealized gestures.
    • 24 Metascore
    • 25 Mick LaSalle
    In Godsend, we have the spectacle of three good actors tied to the mast of a sinking premise.

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