For 2,285 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 point higher than other critics. (0-100 point scale)

Mick LaSalle's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Robot and Frank
Lowest review score: 0 Summer Catch
Score distribution:
2,285 movie reviews
    • 64 Metascore
    • 25 Mick LaSalle
    If this is the best we can do in terms of movies - if something like this can speak to the soul of audiences - maybe we should just turn over the cameras and the equipment to the alien dinosaurs and see what they come up with.
    • 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
    • 40 Metascore
    • 25 Mick LaSalle
    A useless film in every possible way.
    • 46 Metascore
    • 25 Mick LaSalle
    It's just off, odd and joyless.
    • 60 Metascore
    • 25 Mick LaSalle
    The result is a frustrating, boring mess.
    • 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.
    • 19 Metascore
    • 25 Mick LaSalle
    The temptation arises to say something nice about Grown Ups 2 just because it doesn't cause injury. But no, it's a bad movie, too, just old-school bad, the kind that's merely lousy and not an occasion for migraines or night sweats.
    • 52 Metascore
    • 25 Mick LaSalle
    Safe House is an idea for a movie. It's a few blustery gestures in the direction of a story, with five good actors doing their best, trying to hold up the barest frame of an idea, while investing the surrounding emptiness with all the truth they can muster.
    • 37 Metascore
    • 25 Mick LaSalle
    Whatever else W.E. may be (lousy, a waste of time, tin-eared, sleep-inducing, occasionally laughable, etc.), it's sincere and ambitious.
    • 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.
    • 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.
    • 58 Metascore
    • 25 Mick LaSalle
    August: Osage County was a three-hour play that felt like two hours. It has been made into a two-hour movie that feels like a month.
    • 37 Metascore
    • 25 Mick LaSalle
    There are all kinds of bad movies in the world, but it's really only stardom that can create the exact variety of cinematic abortion we find in The Tourist.
    • 58 Metascore
    • 25 Mick LaSalle
    A noble attempt that doesn't hang together.
    • 61 Metascore
    • 25 Mick LaSalle
    An awkward hybrid of Asian and American film techniques. It's also an uninvolving story that casts Chan in the role of a fish out of water and gives him little opportunity to show his exuberant personality.
    • 39 Metascore
    • 25 Mick LaSalle
    This is strictly formula stuff, made worse by an utterly careless depiction of the characters.
    • 31 Metascore
    • 25 Mick LaSalle
    It's monumentally coarse and vulgar, aimed at the mentality of a 14-year-old locked inside his father's liquor cabinet, and nothing about it is funny, least of all Adam Sandler.
    • 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.
    • 65 Metascore
    • 25 Mick LaSalle
    The film itself is wretched. A grueling, numbing black hole.
    • 47 Metascore
    • 25 Mick LaSalle
    Aspires to the breezy esprit of a Richard Lester comedy from the '60s, but it's a deadly, leaden affair.
    • 45 Metascore
    • 25 Mick LaSalle
    Spins an unconvincing, miscast noir tale.
    • 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.
    • 39 Metascore
    • 25 Mick LaSalle
    There's nothing here but a concept and a marketing and merchandising strategy, at the center of which somebody - oh, no - had to come up with an actual movie.
    • 12 Metascore
    • 25 Mick LaSalle
    At times, it actually hurts to watch.
    • 54 Metascore
    • 25 Mick LaSalle
    The movie equivalent of an idiot who, to avoid scorn, starts acting like an even bigger idiot, so as to get in on the joke, too...It takes everything and nothing seriously, depending on what the filmmakers think they can get away with at any given moment, and the result, while not painful to watch, is ridiculous.
    • 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.
    • 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.
    • 65 Metascore
    • 25 Mick LaSalle
    An overwrought drama.
    • 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.
    • 59 Metascore
    • 25 Mick LaSalle
    It turns out to be just as bad as any routine French romantic comedy - illogical, inconsistent and sloppily written, a charmless, tasteless, witless waste of time.
    • 55 Metascore
    • 25 Mick LaSalle
    The film is glossy, but awful. Frenetic, but awful. Expensive, but awful. ... And awful.
    • 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.
    • 22 Metascore
    • 25 Mick LaSalle
    Standing Ovation is an innovative film in the sense that every minute or so it comes up with a different way of being annoying. Moreover, it often goes for a layered effect, in which it's annoying in two or three ways simultaneously.
    • 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.
    • 45 Metascore
    • 25 Mick LaSalle
    SWAT is better than "Gigli," but so is most outpatient surgery.
    • 37 Metascore
    • 25 Mick LaSalle
    A sour romantic comedy that arrives in theaters just in time to spoil Valentine's Day. Its plot is a catalog of unpleasantness. Its characters are repellent.
    • 27 Metascore
    • 25 Mick LaSalle
    Twenty minutes in, the movie is already operating at a deficit, and it never recovers.
    • 53 Metascore
    • 25 Mick LaSalle
    Amateur gives the impression of a sloppy first draft. It begins with a splash, meanders until it reaches feature length, then ends abruptly.
    • 49 Metascore
    • 25 Mick LaSalle
    A whimsical modern fairy tale.
    • 51 Metascore
    • 25 Mick LaSalle
    Has a gutsy premise, but no guts.
    • 51 Metascore
    • 25 Mick LaSalle
    Blackhat is pretty much nonsense, which Mann directs with such misplaced energy and with such little natural instinct for the material that, for most of the running time, the movie’s problems seem entirely his fault.
    • 42 Metascore
    • 25 Mick LaSalle
    This is just plain bad - and it's a surprise.
    • 65 Metascore
    • 25 Mick LaSalle
    A film with no theatrical core and no integrity in the writing, acting or storytelling.
    • 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.
    • 19 Metascore
    • 25 Mick LaSalle
    Ill conceived and unworthy (and dull and ridiculous).
    • 62 Metascore
    • 25 Mick LaSalle
    It tries to get by on charm. It doesn't.
    • 46 Metascore
    • 25 Mick LaSalle
    For about an hour of its running time, The Magic of Belle Isle seems like a tiresome, sentimental and slow-moving story about a grumpy old man redeemed by the sweet spirit of a rural town and by the nice family that lives next door. But no, it's even worse than that.
    • 10 Metascore
    • 25 Mick LaSalle
    Ugly. ..and unpleasant -- and clueless on a grand scale.
    • 55 Metascore
    • 25 Mick LaSalle
    The production values are first rate. But you will wait in vain to hear a good reason for this movie's existence.
    • 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.
    • 27 Metascore
    • 25 Mick LaSalle
    Sometimes it's unpleasant, sometimes it's insincere, and for long stretches it's boring.
    • 66 Metascore
    • 25 Mick LaSalle
    Thus, we find ourselves watching an ice-cold movie about competition that contains not a shred of rooting interest.
    • 36 Metascore
    • 25 Mick LaSalle
    It's hard to sit all the way through Aeon Flux while fully awake.
    • 65 Metascore
    • 25 Mick LaSalle
    A ponderous and dreadful film.
    • 39 Metascore
    • 25 Mick LaSalle
    Dreary movie.
    • 48 Metascore
    • 25 Mick LaSalle
    The film is like watching a very bad play as presented by a very bad director.
    • 48 Metascore
    • 25 Mick LaSalle
    It's possible there has never been anything like it. It contains memorable dialogue, vivid characters and several superb scenes, and yet it still manages to be wrong, a complete miscalculation.
    • 60 Metascore
    • 25 Mick LaSalle
    It's the worst kind of convoluted thriller -- it can never unravel satisfactorily because there's nothing simple at its center, just more confusion.
    • 60 Metascore
    • 25 Mick LaSalle
    There's only so much Soderbergh can do. Gray's Anatomy is made up mainly of Gray, and there's a whole lot of Gray going on. The story is unremarkable. Gray's observations, pedestrian.
    • 25 Metascore
    • 25 Mick LaSalle
    A funny comedy for about 90 seconds. Then Bette Midler goes off a cliff.
    • 76 Metascore
    • 25 Mick LaSalle
    Martha Marcy May Marlene is a strange case, a drama that's disturbing and yet inert. Writer-director Sean Durkin builds an atmosphere of dread, which means that he persuades us to believe in the characters and in the central situation. But he doesn't build interest.
    • 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.
    • 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.
    • 24 Metascore
    • 25 Mick LaSalle
    In Godsend, we have the spectacle of three good actors tied to the mast of a sinking premise.
    • 46 Metascore
    • 25 Mick LaSalle
    [Hartley] changes the script enough so that the integrity of his experiment goes out the window. But he doesn't change enough so that the narrative can have any suspense.
    • 33 Metascore
    • 25 Mick LaSalle
    The bottom line here is that Cyrus is ghastly in The Last Song, bad not just in one or two ways, but in all kinds of ways.
    • 36 Metascore
    • 25 Mick LaSalle
    Runner Runner is less than mediocre, but it's not repellent, which means that to watch it is to root for it - and to be disappointed.
    • 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.
    • 57 Metascore
    • 25 Mick LaSalle
    Bram Stoker's Dracula is a lovingly made, gorgeously realized, meticulously crafted failure. It has big names, a big budget, big sets, a big, thundering score and even big hair. But it doesn't do it. It doesn't excite or fascinate but just lies there on the screen. [13 Nov 1992, p. C1]
    • San Francisco Chronicle
    • 39 Metascore
    • 25 Mick LaSalle
    The presence of Washington lends the picture a much-needed dose of authenticity. But in the end Virtuosity is disconnected and uninvolving, despite -- or maybe because of -- a climax that comes in three distinct waves. One section seems to be a half-hour sound-and-light show.
    • 72 Metascore
    • 25 Mick LaSalle
    Mean-spirited and not remotely clever, though it strives for archness at every turn.
    • 31 Metascore
    • 25 Mick LaSalle
    Unfortunately, the characters are so programmatic, the premise so ridiculous and the situations so far-fetched even if you accept that premise that no energy can be built, and the little that's there can't be sustained. Red Dawn is a vigorous but pointless exercise.
    • 40 Metascore
    • 25 Mick LaSalle
    Friedkin is steeped in gore, like some cinematic Macbeth, and it's obscuring his artistic vision.
    • 28 Metascore
    • 25 Mick LaSalle
    About as awful as a film can be without being the ultimate awful, which is boring.
    • 38 Metascore
    • 25 Mick LaSalle
    Ouija has something wrong with it from the first five minutes.
    • 42 Metascore
    • 25 Mick LaSalle
    An action blockbuster that's one of the biggest misfires in its genre since "Godzilla."
    • 65 Metascore
    • 25 Mick LaSalle
    Suffers from some of the deficiencies common to first features. It is sincere and earnest but the product of an assumption that the milieu itself is compelling enough to command an audience's attention.
    • 24 Metascore
    • 25 Mick LaSalle
    The Adventures of Ford Fairlane, is a stiff, guaranteed to disappoint just about everybody, except those rooting against him. [11 Jul 1990, p.E1]
    • San Francisco Chronicle
    • 58 Metascore
    • 25 Mick LaSalle
    The movie reveals itself as not merely dull, but pointless.
    • 65 Metascore
    • 25 Mick LaSalle
    Goes nowhere.
    • 26 Metascore
    • 25 Mick LaSalle
    Has to go down as a failed comedy. It's just not enough of a comedy.
    • 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.
    • 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.
    • 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.
    • 42 Metascore
    • 25 Mick LaSalle
    Heartfelt but interminable movie.
    • 64 Metascore
    • 25 Mick LaSalle
    Here Balasko, best known as a comedian, is particularly satisfying. But the reward is too small on the investment, and the film's resolution is downright irritating - not just a waste of time, but a waste of time with attitude.
    • 61 Metascore
    • 25 Mick LaSalle
    Worst of all, in promoting its hero's eccentric journey as a voyage of healing, the movie replaces emotional precision and intellectual honesty with syrupy sincerity and insistence. It turns boring and cute and begs us to love it.
    • 64 Metascore
    • 25 Mick LaSalle
    Only in the movie business could someone sell such shoddy merchandise and expect people to buy it. If The Hunger Games: Mockingjay — Part 1 were an appliance, it would be a broken toaster that people would toss in the garbage. Except that analogy is too kind, in that “Mockingjay” would be half a toaster.
    • 53 Metascore
    • 25 Mick LaSalle
    Everything about the idea of Mr. Popper's Penguins sounds lovely, and everything about the actual movie is ugly.
    • 40 Metascore
    • 25 Mick LaSalle
    It's a strange thing, this type of whimsy. Kari offers us ideas in place of characters, and yet he expects us to see through these ideas to the real-life conditions they represent - and then to respond to them in kind.
    • 36 Metascore
    • 25 Mick LaSalle
    As far as formulaic, empty and disappointing comedies go, The Watch is far from the worst. About every seven or eight minutes, perhaps a dozen times over the course of the picture, the movie generates a medium-size laugh. Not a big laugh.
    • 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.
    • 45 Metascore
    • 25 Mick LaSalle
    A single 125-minute monstrosity of a cop movie.
    • 35 Metascore
    • 25 Mick LaSalle
    Could hardly be called a success -- it's rather a likable disaster.
    • 14 Metascore
    • 25 Mick LaSalle
    In the long history of bad movies about bad illnesses, A Little Bit of Heaven just might be the worst.
    • 67 Metascore
    • 25 Mick LaSalle
    You can almost say it simulates an experience of brain injury in the audience: Nothing adheres, nothing connects. It's just nonstop cuteness, poses and emptiness - with nothing logically following from one moment to the next. It would be exaggerating to call it torture, and yet why split hairs?
    • 47 Metascore
    • 25 Mick LaSalle
    Going after one innocent man was bad enough. Going after another constitutes a pattern. This marshal isn't a hero. He's a menace.
    • 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.
    • 68 Metascore
    • 25 Mick LaSalle
    The film occupies that peculiar space that many of us would prefer to believe doesn’t exist, a movie that’s worthy but often inert, by turns enriching and enervating: a good boring movie.

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