For 2,312 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 0.7 points higher than other critics. (0-100 point scale)

Mick LaSalle's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 I'll See You in My Dreams
Lowest review score: 0 Bones
Score distribution:
2,312 movie reviews
    • 26 Metascore
    • 25 Mick LaSalle
    It's a dreadful exercise, tin-eared and sincere, bereft of any truth or inspiration.
    • 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
    • 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.
    • 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.
    • 50 Metascore
    • 25 Mick LaSalle
    The movie's bereftness of invention can be measured by how no story element builds on another. Instead, Happy Feet Two is plotted so that a bunch of disparate things happen, until it's time to end the movie.
    • 68 Metascore
    • 25 Mick LaSalle
    It is a very good performance in a very bad movie.
    • 31 Metascore
    • 25 Mick LaSalle
    A third-rate effort, with a weak script, cheap-looking effects and no genuine frights.
    • 75 Metascore
    • 25 Mick LaSalle
    Film anybody's trip to Italy, and it would be more interesting than this, or at least equally boring.
    • 69 Metascore
    • 25 Mick LaSalle
    More than confusing. It's opaque.
    • 43 Metascore
    • 25 Mick LaSalle
    Approximately the last hour of Dante's Peak is made up of action scenes, and how well one likes computer-generated destruction will determine how well one likes the movie.
    • 42 Metascore
    • 25 Mick LaSalle
    This latest from director Wayne Wang, about the friendship of two young women, travels from 2011 to 1997 to 1829 to 1838, in search of a reason for the audience to keep watching and start caring. That reason is never found.
    • 53 Metascore
    • 25 Mick LaSalle
    In an attempt to be complex and fair-minded, a simple story becomes a jumble of confused motivations.
    • 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.
    • 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.
    • 54 Metascore
    • 25 Mick LaSalle
    If, while watching The Secret Life of Walter Mitty, you start wondering why Ben Stiller is acting strange, the answer comes during the closing credits: "Directed by Ben Stiller."
    • 66 Metascore
    • 25 Mick LaSalle
    The Dutch thriller Borgman gets credit for being original, but not for being original in a compelling way.
    • 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
    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.
    • 57 Metascore
    • 25 Mick LaSalle
    Witless banter might have won Ginger Rogers for Fred Astaire, but Thompson is too smart for that.
    • 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.
    • 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.
    • 49 Metascore
    • 25 Mick LaSalle
    Cmera work can't do anything about the barrenness of the screenplay, nor the sense of fundamental insincerity at the core of the film. [03 Sep 1993]
    • San Francisco Chronicle
    • 55 Metascore
    • 25 Mick LaSalle
    Hellion is so sincere and so dull that some might mistake it for a true work of art.
    • 40 Metascore
    • 25 Mick LaSalle
    The movie is a mess.
    • 46 Metascore
    • 25 Mick LaSalle
    In King Arthur, everything goes wrong. The film combines the plodding sincerity of a Ph.D. dissertation with the brains of a high-concept Jerry Bruckheimer- produced blockbuster (which it is), and no one benefits.
    • 64 Metascore
    • 25 Mick LaSalle
    Surprisingly, the results are embarrassing. As puppetry, Team America is stilted. As satire, it's gutless and lazy. And as comedy, it barely delivers laughs.
    • 36 Metascore
    • 25 Mick LaSalle
    Morgan Freeman's voice is heard as the narrator, which is in itself the stuff of parody. Then we listen and get lost within two sentences, because the narration is so poorly written that Freeman himself probably didn't know what he was talking about.
    • 60 Metascore
    • 25 Mick LaSalle
    It's a bomb - not the usual bomb, but a time bomb, despite a 20-minute stretch at the beginning that goes along nicely. [17 May 1991]
    • San Francisco Chronicle
    • 70 Metascore
    • 25 Mick LaSalle
    The movie's excruciating length is without dramatic or thematic justification.
    • 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.
    • 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
    • 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.
    • 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.
    • 38 Metascore
    • 25 Mick LaSalle
    A mess.
    • 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
    • 51 Metascore
    • 25 Mick LaSalle
    Someone should steal this concept and make a decent movie out of it.
    • 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.
    • 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.
    • 73 Metascore
    • 25 Mick LaSalle
    The movie suffers from two fatal ailments -- a dearth of vitality and a story that's shapeless and uninflected.
    • 31 Metascore
    • 25 Mick LaSalle
    The Road Within is never good. The presentation of Tourette’s syndrome may be authentic, but everything else about the movie — the emotions, the characters, the situations — rings false.
    • 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.
    • 30 Metascore
    • 25 Mick LaSalle
    Neither original nor presented in a convincing way.
    • 79 Metascore
    • 25 Mick LaSalle
    This picture is disgusting. [15 Aug 1986]
    • San Francisco Chronicle
    • 41 Metascore
    • 25 Mick LaSalle
    Rarely do two lines go by without Fellowes changing something, always for the worse.
    • 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.
    • 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.
    • 37 Metascore
    • 25 Mick LaSalle
    What we have in this film is a whole lot of nothing, and the little that's there is irritating.
    • 34 Metascore
    • 25 Mick LaSalle
    Another inert, soul-dead action drama that turns actors into zombies...It's garbage.
    • 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
    The moments of action are interspersed with lengthy plot developments that are hard to follow.
    • 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.
    • 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.
    • 66 Metascore
    • 25 Mick LaSalle
    Results are all that matter, and the result here is that The Desolation of Smaug fails in almost every way, as a story, as an adventure, as a piece of art direction and as a visual spectacle.
    • 58 Metascore
    • 25 Mick LaSalle
    With Hard Candy, the innocent are tortured along with the guilty -- the innocent, in this case, being the audience.
    • 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.
    • 68 Metascore
    • 25 Mick LaSalle
    Its story meanders and doesn't build, and the pace is deadly.
    • San Francisco Chronicle
    • 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.
    • 46 Metascore
    • 25 Mick LaSalle
    The film doesn't make a case for Lavoe as an important artist.
    • 51 Metascore
    • 25 Mick LaSalle
    The comedy never really takes off because it's phony.
    • 37 Metascore
    • 25 Mick LaSalle
    A limp, slow-moving and desperately unfunny comedy.
    • 50 Metascore
    • 25 Mick LaSalle
    It takes a winning recipe and adds some distinctly Hollywood flavors...The result is a botched job.
    • 43 Metascore
    • 25 Mick LaSalle
    It's unpleasant where it should be pleasant, convoluted where it should be streamlined, anxiety provoking where it should be easy, and long, long, long - at least 20 minutes longer than it has a right to be.
    • 64 Metascore
    • 25 Mick LaSalle
    With The Way, writer-director Emilio Estevez has made a respectable failure. What's respectable - and undeniable - is that this is a sincere effort to make a film of sensitivity and spiritual richness.
    • 44 Metascore
    • 25 Mick LaSalle
    This is a half-hearted, derivative action film with not a single honest artistic impulse behind it.
    • 67 Metascore
    • 25 Mick LaSalle
    A ghastly sequel to a charming animated film.
    • 67 Metascore
    • 25 Mick LaSalle
    Trust never lives up to its snappy opening. Everything is tongue-in-cheek here - yet it's never remotely clear what the point is or what's getting satirized. [16 Aug 1991]
    • San Francisco Chronicle
    • 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.
    • 58 Metascore
    • 25 Mick LaSalle
    If you loved the earlier films, these are moments you will hold on to, but they're very few, and they're not enough.
    • 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.
    • 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.
    • 30 Metascore
    • 25 Mick LaSalle
    So there’s nothing here to see, except maybe the white dress that Vergara wears in her first scene.
    • 56 Metascore
    • 12 Mick LaSalle
    The best thing in the movie is Peter MacNicol as Dana's boss at the museum, a slippery character with an incomprehensible accent. [16 Jun 1989, p. E1]
    • San Francisco Chronicle
    • 16 Metascore
    • 0 Mick LaSalle
    The film is a failure in just about every way, save for its acting, which is adequate.
    • 44 Metascore
    • 0 Mick LaSalle
    No matter how guilty our knucklehead-protagonist's victims supposedly are, it's difficult to maintain a rooting interest.
    • 20 Metascore
    • 0 Mick LaSalle
    A dull, boring, poorly acted, limply written and thoroughly unappealing fantasy, featuring bland characters locked in a struggle of no interest.
    • 44 Metascore
    • 0 Mick LaSalle
    Achingly long and pointless, "Runs" is a movie about family that's dishonest in its presentation of every relationship.
    • 38 Metascore
    • 0 Mick LaSalle
    A graceless, embarrassing effort.
    • 54 Metascore
    • 0 Mick LaSalle
    Gerry is ragingly bad art that contributes to a definition of independent film as something no one would want to sit through.
    • 52 Metascore
    • 0 Mick LaSalle
    Quentin Tarantino and Robert Rodriguez had their fun with From Dusk Till Dawn, and now they need to stay away from each other. For their own good. Forever.
    • 29 Metascore
    • 0 Mick LaSalle
    No more than a minute into this, and it becomes obvious that the next 98 are going to be trouble.
    • 21 Metascore
    • 0 Mick LaSalle
    It is possible to watch 90 minutes of this comedy without once cracking a smile. [12 Jan 1994]
    • San Francisco Chronicle
    • 56 Metascore
    • 0 Mick LaSalle
    It's just not enough to say that The Three Stooges is the death of comedy. Rather, it's the death, burial, putrefaction and decomposition of comedy. It is where comedy, once alive, ends up as dust blowing in the wind, like something out of a really bad Kansas song.
    • 32 Metascore
    • 0 Mick LaSalle
    Proves that it's possible to make a movie so tasteless and so crude that audiences don't laugh. This is worthwhile information. It means there's a limit.
    • 22 Metascore
    • 0 Mick LaSalle
    It's so low it scrapes through the barrel and deep into the earth's core. It's the lowest piece of garbage to hit screens in months.
    • 60 Metascore
    • 0 Mick LaSalle
    The result is embarrassing: quick cuts and shaky, hand- held camera work, bad acting and lots of attitude.
    • 14 Metascore
    • 0 Mick LaSalle
    Remarkably empty, remarkably noisy, remarkably pleasureless. It's unwatchable.
    • 37 Metascore
    • 0 Mick LaSalle
    How bad does it get? How far past the basement can one elevator go?
    • 51 Metascore
    • 0 Mick LaSalle
    That the movie becomes silly isn't necessarily a problem, but it also becomes tiresome, degenerating into a series of martial arts interludes -- everyone unaccountably leaves his guns at home.
    • 67 Metascore
    • 0 Mick LaSalle
    In trouble from its first minutes.
    • 64 Metascore
    • 0 Mick LaSalle
    Directed by Danny Boyle, it lacks even a single moment of charm or interest.
    • 48 Metascore
    • 0 Mick LaSalle
    There's nothing here but wreckage. Sherlock Holmes: A Game of Shadows is so ineptly made that the story is advanced solely through announcements.
    • 17 Metascore
    • 0 Mick LaSalle
    Only a complete idiot could think Epic Movie is remotely funny.
    • 20 Metascore
    • 0 Mick LaSalle
    It's a dishonest satire that manages to be (disingenuously) contemptuous of white people and (unintentionally) condescending toward black people, without ever being funny.
    • 32 Metascore
    • 0 Mick LaSalle
    UHF
    In UHF we get 90 minutes of Al Yankovic, and that's 85 minutes too much. The problem isn't that he's weird, but that he isn't weird at all. The premises for his gags are commonplace and predictable, and his follow-throughs lack imagination. He seems incapable of spinning more than one tired joke from each set-up. [21 Jul 1989, p.E1]
    • San Francisco Chronicle
    • 21 Metascore
    • 0 Mick LaSalle
    The equivalent of a full-course meal with no calories. It is a mirage of a movie, 100 minutes of nothing.
    • 52 Metascore
    • 0 Mick LaSalle
    Aside from being vile and repellent, it's mainly dull - old-fashioned in its shock tactics and culminating in a ho-hum climax.
    • 52 Metascore
    • 0 Mick LaSalle
    Duller than first version.
    • 18 Metascore
    • 0 Mick LaSalle
    The most thoroughly joyless and inept film of the year, and one of the worst of the decade. We're talking about a disaster, and not of the fun "Showgirls" variety, either.
    • 12 Metascore
    • 0 Mick LaSalle
    It's a completely botched effort -- botched in its direction, its writing and editing.
    • 18 Metascore
    • 0 Mick LaSalle
    Even camp status eludes this tepid and misguided picture.

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