For 2,707 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 1.1 points lower than other critics. (0-100 point scale)

Mick LaSalle's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Around the World in 80 Days
Lowest review score: 0 Cocktail
Score distribution:
2707 movie reviews
    • 61 Metascore
    • 100 Mick LaSalle
    More than a high concept stretched to feature length. This is a funny and extremely satisfying comedy, the best in a while.
    • 79 Metascore
    • 100 Mick LaSalle
    A brutal movie, brutal in all the right ways -- brutally stark, brutally funny, brutally brutal. [30 Oct 1992]
    • San Francisco Chronicle
    • 65 Metascore
    • 100 Mick LaSalle
    One of the best war movies of the past 20 years.
    • 67 Metascore
    • 100 Mick LaSalle
    Director Bernard Rose has created a committed, intelligent and fascinating piece of work with no irony about it.
    • 51 Metascore
    • 100 Mick LaSalle
    A film of real beauty, which is surprising, since it's not a movie of beautiful sentiments or settings.
    • 80 Metascore
    • 100 Mick LaSalle
    Extraordinary.
    • 73 Metascore
    • 100 Mick LaSalle
    The picture, written and directed by Francis Veber, the screenwriter of "La Cage Aux Folles,'' is a complete success.
    • 84 Metascore
    • 100 Mick LaSalle
    Stuns with writing, acting, direction.
    • 59 Metascore
    • 100 Mick LaSalle
    One of the most powerful romances of recent years, it is as generous as they come.
    • 68 Metascore
    • 100 Mick LaSalle
    It's hard not to come away in awe of a director in complete control of every frame.
    • 69 Metascore
    • 100 Mick LaSalle
    An intelligent, well-made film about a seemingly well-adjusted, likable and loquacious woman.
    • 85 Metascore
    • 100 Mick LaSalle
    An exquisite and powerful documentary -- one whose elegance only heightens its devastating impact.
    • 71 Metascore
    • 100 Mick LaSalle
    From the outside, Sunshine sounds like the most boring film on Earth. In fact, it's glorious.
    • 54 Metascore
    • 100 Mick LaSalle
    Qualifies as director Giuseppe Tornatore's second full-fledged masterpiece. His first: "Cinema Paradiso."
    • 78 Metascore
    • 100 Mick LaSalle
    Presents us with characters of such humanity and dignity that it begins to seem obscene that until now we haven't exactly given all that much thought to the Kurds.
    • 90 Metascore
    • 100 Mick LaSalle
    One of the best crime dramas to come along in years.
    • 79 Metascore
    • 100 Mick LaSalle
    At its slowest, the film has value as a historical document. At its best, the film gives a human face to stories of unimaginable suffering and unexpected triumph.
    • 63 Metascore
    • 100 Mick LaSalle
    Philippe Blasband's screenplay is witty and economical, and the film's editing is crisp.
    • 80 Metascore
    • 100 Mick LaSalle
    Few who see it will be sorry. Sometimes being humane means not being squeamish.
    • 67 Metascore
    • 100 Mick LaSalle
    Fascinating in its depiction of presidential leadership in action.
    • 68 Metascore
    • 100 Mick LaSalle
    A movie about serendipity and spontaneity.
    • 76 Metascore
    • 100 Mick LaSalle
    Has its awkward and rough edges, but there's a purity here, a goodness of intention and a commitment to justice.
    • 81 Metascore
    • 100 Mick LaSalle
    They talk and talk, and somehow it's delightful.
    • 75 Metascore
    • 100 Mick LaSalle
    Turns out to be the most unnerving film of the year. Easy.
    • 98 Metascore
    • 100 Mick LaSalle
    It turns out that Pepe Le Moko is even better than "Algiers."
    • 80 Metascore
    • 100 Mick LaSalle
    You leave Cinema Paradiso with that feeling that's kind of like getting kicked in the stomach, but nice. It's one of those breathless, swept-away-by-a-movie experiences that you might have once a year, if you're lucky. [16 February 1990, Daily Notebook, p.E-1]
    • San Francisco Chronicle
    • 86 Metascore
    • 100 Mick LaSalle
    The kind of picture to whip out the clichés for: Surprisingly original. Delightful. Brilliant. Funny as all heck. When 1989 is through, sex, lies, and videotape may well be remembered as the best film of the year. [11 Aug 1989, Daily Datebook, p.E1]
    • San Francisco Chronicle
    • 73 Metascore
    • 100 Mick LaSalle
    They are naturals at acting, not because they're good at lying but because they can't be phony.
    • 78 Metascore
    • 100 Mick LaSalle
    Midnight Run has thrills, excellent performances, touching moments, slick plotting, lively dialogue, plenty of laughs, beautiful locations and finely detailed direction. It's an across-the-board success, the best new movie I've seen in years. [20 July 1988]
    • San Francisco Chronicle
    • 73 Metascore
    • 100 Mick LaSalle
    It's shockingly funny - you don't sit there deciding to laugh. Your own laughter catches you by surprise. [14 Apr 1989]
    • San Francisco Chronicle
    • 52 Metascore
    • 100 Mick LaSalle
    Breaks the formula for teen romances. Martin Short, as the vain and zany drama teacher, does not disappoint.
    • 70 Metascore
    • 100 Mick LaSalle
    Not only more crazy than “Reservoir Dogs,'' but it also feels more real. [1 Jan 1993, Daily Notebook, p.D1]
    • San Francisco Chronicle
    • 57 Metascore
    • 100 Mick LaSalle
    Anybody who talks about True Romance has to start with the writing. It's dazzling. In scene after scene, Tarantino surprises the audience even while coming up with dialogue that rings much more true than anything you could have anticipated. [10 Sept 1993]
    • San Francisco Chronicle
    • 85 Metascore
    • 100 Mick LaSalle
    Directed with playful wit and energy, with steamy sex scenes played as much for laughs as anything else.
    • 90 Metascore
    • 100 Mick LaSalle
    It's a humane and witty treatment of an average life that, incidentally, speaks to the worth and inherent drama of average lives.
    • 65 Metascore
    • 100 Mick LaSalle
    It's a beautiful machine, thought out and revved up to the last detail, with no other purpose but to delight - and it delights. [24 May 1989, Daily Notebook, p.E1]
    • San Francisco Chronicle
    • 62 Metascore
    • 100 Mick LaSalle
    Two hours of nonstop, nail-biting tension and anxiety.
    • 93 Metascore
    • 100 Mick LaSalle
    Perfect pitch.
    • 82 Metascore
    • 100 Mick LaSalle
    The movie is a total blast, and what a surprise.
    • 85 Metascore
    • 100 Mick LaSalle
    A remarkable documentary about an almost unfathomable ordeal.
    • 79 Metascore
    • 100 Mick LaSalle
    Powerful and outrageous.
    • 76 Metascore
    • 100 Mick LaSalle
    Flows in a way that seems effortless, following its own path, arriving at its own place. Only after the movie is over are the outlines of its story apparent. I found it impossible to outguess it. [12 July 1991]
    • San Francisco Chronicle
    • 84 Metascore
    • 100 Mick LaSalle
    The film is exciting in two big ways: its simplicity of story (Tanovic does not get bogged down trying to give us an epic history) and the breadth of Tanovic's vision.
    • 85 Metascore
    • 100 Mick LaSalle
    One of the great Holocaust films.
    • 63 Metascore
    • 100 Mick LaSalle
    It's that rare kind of movie that comes along only a handful of times each year -- gut-level entertainment that's oddly profound.
    • 78 Metascore
    • 100 Mick LaSalle
    Unique and courageous. It may be counted as one of the year's few steps forward in cinema.
    • 76 Metascore
    • 100 Mick LaSalle
    Presented without preachiness or affectation, Kandahar is a short, matter-of-fact visit to hell.
    • 52 Metascore
    • 100 Mick LaSalle
    A wonderful movie, sincere and inspired, with four terrific performances and a story that doesn't let up. The picture has the gentle, nourishing quality of a fairy tale that you want to believe, and the unsoftened impact of gut-level entertainment. [13 July 1990, Daily Datebook, p.E1]
    • San Francisco Chronicle
    • 79 Metascore
    • 100 Mick LaSalle
    Riveting.
    • 52 Metascore
    • 100 Mick LaSalle
    The funniest film to come along since "South Park," and one that succeeds in a more difficult and satisfying way.
    • 85 Metascore
    • 100 Mick LaSalle
    With Boogie Nights, we know we're not just watching episodes from disparate lives but a panorama of recent social history, rendered in bold, exuberant colors.
    • 85 Metascore
    • 100 Mick LaSalle
    A seriously good movie, a challenge to viewers, a rebuke of the way many Americans live their lives.
    • 60 Metascore
    • 100 Mick LaSalle
    This lushly photographed, brilliantly acted and wonderfully entertaining movie has its own claims to uniqueness. It's the most thoughtful of the three films, and its climax brings the entire series into sharper focus. [25 Dec 1990, Daily Datebook, p.E1]
    • San Francisco Chronicle
    • 57 Metascore
    • 100 Mick LaSalle
    A film of audacity and total gut-level appeal.
    • 76 Metascore
    • 100 Mick LaSalle
    The true soul of the New York mob is portrayed in Donnie Brasco, a first-class Mafia thriller that is also in its way a love story -- perhaps director Mike Newell's best.
    • 98 Metascore
    • 100 Mick LaSalle
    Seeing it is a time-bending experience, a way of visiting the past and glimpsing the past's idea of the future. A masterpiece of art direction, the movie has influenced our vision of the future ever since, with its imposing white monoliths and starched facades.
    • 73 Metascore
    • 100 Mick LaSalle
    Rarely does a movie come along that captures an aspect of everyday consciousness that has not yet made it onto film.
    • 74 Metascore
    • 100 Mick LaSalle
    In "Fatal Attraction" [Close] was a woman out of control. Here she's in control of her emotions, too much in control. When Merteuil finally lets loose and gives way to complete animal despair, Close is horrifying. [13 Jan 1989, Daily Datebook, p.E1]
    • San Francisco Chronicle
    • 46 Metascore
    • 100 Mick LaSalle
    Payback has a completely different spirit from "L.A. Confidential'' -- more wild, more silly -- but it has the same attention to the fine points of plot and character.
    • 52 Metascore
    • 100 Mick LaSalle
    A very smart, very shrewd movie, and the smartest, shrewdest thing about it is the way it masquerades as just a fluffy comedy, a diversion, a trifle.
    • 69 Metascore
    • 100 Mick LaSalle
    It's a rare, beautifully made movie that offers you another world. [23 June 1989, Daily Datebook, p.E1]
    • San Francisco Chronicle
    • 89 Metascore
    • 100 Mick LaSalle
    Ferocious brutality is presented without commentary or judgment, yet with unmistakable moral understanding and vision. [21 September 1990, Daily Notebook p.E-1]
    • San Francisco Chronicle
    • 58 Metascore
    • 100 Mick LaSalle
    In addition to being extremely funny, the film has a warm spirit and respect for the characters.
    • 80 Metascore
    • 100 Mick LaSalle
    This is the kind of pure entertainment that, in its fullness and generosity, feels almost classic.
    • 82 Metascore
    • 100 Mick LaSalle
    Not a heist film, a thriller, a twisted romance, a film noir or a character study, but a unique concoction that bends all these genres to its vision.
    • 94 Metascore
    • 100 Mick LaSalle
    It is an exhilaration from beginning to end. It's the movie equivalent of that rare sort of novel where you find yourself checking to see how many pages are left and hoping there are more, not fewer.
    • 63 Metascore
    • 100 Mick LaSalle
    This is an acerbic examination of erotic obsession, told from different perspectives, with wit, suspense and cold-blooded detachment.
    • 92 Metascore
    • 100 Mick LaSalle
    Gets it right. It's a wonderful movie. Watching it, one can't help but get the impression that everyone involved was steeped in Tolkien's work, loved the book, treasured it and took care not to break a cherished thing in it.
    • 68 Metascore
    • 100 Mick LaSalle
    One great monster movie. [11 June 1993, Daily Notebook, p.C1]
    • San Francisco Chronicle
    • 56 Metascore
    • 100 Mick LaSalle
    A caustic comedy of Hollywood manners.
    • 86 Metascore
    • 100 Mick LaSalle
    With its dry, throwaway humor and constant stream of chuckles, it creates its own category of stealth comedy.
    • 75 Metascore
    • 100 Mick LaSalle
    Terminator 2 imagines things you wouldn't even be likely to dream and gets these visions onto the screen with a seamlessness that's mind-boggling. [3 July 1991, Daily Datebook, p.E1]
    • San Francisco Chronicle
    • 81 Metascore
    • 100 Mick LaSalle
    A fable about women struggling to free themselves from that myth, and even at its most obvious, it's exhilarating.
    • 85 Metascore
    • 100 Mick LaSalle
    A documentary with the emotional power of the very best in narrative film. It has characters impossible to forget, moments impossible to shake and an ending that leaves the audience both moved and rattled.
    • 70 Metascore
    • 100 Mick LaSalle
    More than one joke or one idea. It's a thoroughly satisfying comedy --and a respectable space adventure, as well.
    • 67 Metascore
    • 100 Mick LaSalle
    The result is a film of sadness and power, the first great 21st century movie about a 21st century subject.
    • 80 Metascore
    • 100 Mick LaSalle
    The result is something rare, especially considering how fine the novel is, a film that's fuller and deeper than the book.
    • 83 Metascore
    • 100 Mick LaSalle
    In this small and very smart film, Cronenberg does several things at once and makes them all look effortless, capturing various shadings of consciousness and versions of reality.
    • 82 Metascore
    • 100 Mick LaSalle
    Stays in the mind, changing the way we look at the world.
    • 81 Metascore
    • 100 Mick LaSalle
    The picture gently caricatures the folk music scene with dozens of delicate brush strokes, creating a picture that's increasingly, gloriously funny -- as in entire lines of dialogue are lost because the audience's laughing so hard.
    • 46 Metascore
    • 100 Mick LaSalle
    If In the Cut falls short of the masterpiece Campion intended, it's unquestionably the most ambitious and important film to come along in months.
    • 66 Metascore
    • 100 Mick LaSalle
    The moments between the characters are absolutely full. It's a pleasure to watch such consummate professionals.
    • 87 Metascore
    • 100 Mick LaSalle
    Masterful documentary.
    • 96 Metascore
    • 100 Mick LaSalle
    An ungainly masterpiece, but Chaplin's ungainliness is something one can grow fond of.
    • 68 Metascore
    • 100 Mick LaSalle
    To make a movie about that team and those games requires more than an ability to depict personal dramas or re-enact game highlights. It requires the re- creation of a world and a mind-set, and Miracle accomplishes both brilliantly.
    • 62 Metascore
    • 100 Mick LaSalle
    An ambitious and exciting piece of work, a movie about sex and movies made by a filmmaker who understands the power of each to set off fantasy, create addiction, incite danger and transform the spirit.
    • 52 Metascore
    • 100 Mick LaSalle
    A first-rate thriller about arrogance at the top.
    • 61 Metascore
    • 100 Mick LaSalle
    Dares to present a flat-out heroic president, without the safety net of irony. It succeeds.
    • 60 Metascore
    • 100 Mick LaSalle
    Mischievous, singular and profound.
    • 93 Metascore
    • 100 Mick LaSalle
    In this one masterpiece, Federico Fellini achieved the ideal balance -- between social observation and unconscious imagery, between artistic discipline and freedom, and between the neo-realism of 1950s Italian cinema and the orgiastic flights of his later work.
    • 77 Metascore
    • 100 Mick LaSalle
    It's a lovely and wistful celebration of youth, time and moments of connection -- and about the experience of living in the midst of a simple, perfect day that you know you'll remember for the rest of your life.
    • 100 Metascore
    • 100 Mick LaSalle
    A masterpiece.
    • 82 Metascore
    • 100 Mick LaSalle
    A different kind of Harry Potter movie, a better kind... It's where this fantasy series has wanted to go all along.
    • 59 Metascore
    • 100 Mick LaSalle
    The alien attack, taking place in several cities at once, is breathtaking...All the same, Independence Day is consistently funny.
    • 68 Metascore
    • 100 Mick LaSalle
    It's hard to dislike a picture with flying cows and oil trucks.
    • 73 Metascore
    • 100 Mick LaSalle
    It’s coolheaded and incisive, a thorough and informative study of corporations, their origins and their place in the modern world.
    • 49 Metascore
    • 100 Mick LaSalle
    Coraci has given us a film that is not only amusing, but well-acted, and not only well-acted, but gorgeous. Micha Klein's animated transitions alone, which are used to signal each change in location, are wondrous and lovely to behold.
    • 67 Metascore
    • 100 Mick LaSalle
    Assessing the merits of a political film is a tricky business. Obviously, its quality is partly a function of its power to persuade, but its persuasiveness is in the eye of the beholder.
    • 83 Metascore
    • 100 Mick LaSalle
    Smart, fun entertainment.
    • 90 Metascore
    • 100 Mick LaSalle
    Magnificent but somewhat frustrating movie.

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