For 2,631 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 lower than other critics. (0-100 point scale)

Mick LaSalle's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 The Fog of War: Eleven Lessons from the Life of Robert S. McNamara
Lowest review score: 0 Summer Catch
Score distribution:
2631 movie reviews
    • 72 Metascore
    • 100 Mick LaSalle
    A complicated family story that takes place in three distinct time periods, and that's handled with astonishing ease and fluidity by director Claude Miller.
    • 94 Metascore
    • 100 Mick LaSalle
    This one enters the pantheon of great American war films.
    • 63 Metascore
    • 100 Mick LaSalle
    Now that she's past 50, can we all stop holding Michelle Pfeiffer's looks against her and just admit that she's a great actress?
    • 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.
    • 61 Metascore
    • 100 Mick LaSalle
    Dares to present a flat-out heroic president, without the safety net of irony. It succeeds.
    • 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    At its slowest, the film has value as a historical document.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.
    • 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.
    • 63 Metascore
    • 100 Mick LaSalle
    Philippe Blasband's screenplay is witty and economical, and the film's editing is crisp.
    • 84 Metascore
    • 100 Mick LaSalle
    An extraordinary film, mythic in feeling.
    • 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
    • 81 Metascore
    • 100 Mick LaSalle
    Seemingly loose and free-associative in style, Experimenter builds to an effect and, for all its humor — or rather, through its humor — makes a sober and chilling point.
    • 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.
    • 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.
    • 65 Metascore
    • 100 Mick LaSalle
    Michelle Williams doesn't just survive. Called upon to glow, she glows. Her performance doesn't solve all the riddles of that personality; none could, and it's for the best that Williams doesn't try.
    • 89 Metascore
    • 100 Mick LaSalle
    In many ways - in all ways - The Artist is a profound achievement.
    • 79 Metascore
    • 100 Mick LaSalle
    An extraordinary and effective film.
    • 75 Metascore
    • 100 Mick LaSalle
    A movie of intelligence and power, of beauty, universality and largeness of spirit.
    • 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.
    • 61 Metascore
    • 100 Mick LaSalle
    An enchanting, beautiful and brilliantly imagined film.
    • 72 Metascore
    • 100 Mick LaSalle
    The films never lose sight of Mesrine the man, a fascinating character in that he's brutal yet extremely intelligent, has a skewed but discernible conscience, and, under the right circumstances, can be warm and generous.
    • 67 Metascore
    • 100 Mick LaSalle
    Die Hard 2 is a huge movie done right. [3 July 1990, p.E1]
    • San Francisco Chronicle
    • 72 Metascore
    • 100 Mick LaSalle
    The documentary shows the stranglehold that the teachers union has on politicians, particularly Democratic politicians. The arrogance and ignorance of some of these politicians is galling.
    • 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.
    • 72 Metascore
    • 100 Mick LaSalle
    Just in physical terms, Eddie Redmayne transformation’s into Stephen Hawking is something remarkable.
    • 79 Metascore
    • 100 Mick LaSalle
    The story itself is arresting, and if that’s all “Bang” offered, that would be enough. But “Bang” does more.
    • 81 Metascore
    • 100 Mick LaSalle
    Bridge of Spies tells us that the Constitution is not some quaint national luxury but the road map out of the darkness.
    • 89 Metascore
    • 100 Mick LaSalle
    Verhoeven creates an elegant frame for his lead actress and lets her fill it, and what we end up with is Huppert’s best collaboration with a director since the death of Claude Chabrol.
    • 65 Metascore
    • 100 Mick LaSalle
    Dan in Real Life fires on so many circuits that at times it's actually shocking how good it is.
    • 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
    A masterpiece.
    • 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
    • 61 Metascore
    • 100 Mick LaSalle
    It's extremely funny, one of the funniest films of 2012, with a particularly winning style - far-fetched, extreme and nonstop.
    • 80 Metascore
    • 100 Mick LaSalle
    This is the kind of pure entertainment that, in its fullness and generosity, feels almost classic.
    • 96 Metascore
    • 100 Mick LaSalle
    12 Years a Slave has some of the awkwardness and inauthenticity of a foreign-made film about the United States. The dialogue of the Washington, D.C., slave traders sounds as if it were written for "Lord of the Rings." White plantation workers speak in standard redneck cliches. And yet the ways in which this film is true are much more important than the ways it's false.
    • 88 Metascore
    • 100 Mick LaSalle
    Make no mistake, Blue Is the Warmest Color constitutes a breakthrough, in addition to being the best film of 2013.
    • 85 Metascore
    • 100 Mick LaSalle
    An exquisite and powerful documentary -- one whose elegance only heightens its devastating impact.
    • 54 Metascore
    • 100 Mick LaSalle
    Qualifies as director Giuseppe Tornatore's second full-fledged masterpiece. His first: "Cinema Paradiso."
    • 72 Metascore
    • 100 Mick LaSalle
    It’s a movie about a geeky teenager living in the Los Angeles hood, and something about it, or rather everything about it, feels real.
    • 94 Metascore
    • 100 Mick LaSalle
    There is no turning away from the screen.
    • 82 Metascore
    • 100 Mick LaSalle
    Original, truthful and moving.
    • 82 Metascore
    • 100 Mick LaSalle
    Rocky might not be the brightest guy, but he knows things. He has his limitations, but he is, in his own way, extraordinary, and when we look at his/Stallone’s face, we can have no doubt that Rocky has gone through life and learned things. He has been awake all these years, and growing. With no exaggeration, this is a beautiful and moving thing to see.
    • 73 Metascore
    • 100 Mick LaSalle
    They are naturals at acting, not because they're good at lying but because they can't be phony.
    • 82 Metascore
    • 100 Mick LaSalle
    The movie is a total blast, and what a surprise.
    • 79 Metascore
    • 100 Mick LaSalle
    Powerful and outrageous.
    • 85 Metascore
    • 100 Mick LaSalle
    The Past makes conventional movies feel artificial. Watching the characters interact in this movie feels like "Here is real life," and real life just happens to be strangely compelling.
    • 57 Metascore
    • 100 Mick LaSalle
    The experience of Southpaw is rather like seeing the truth behind the cliches, revived in all their pain and power to surprise.
    • 64 Metascore
    • 100 Mick LaSalle
    An ideal introduction to Toback's output as well as a welcome elucidation for longtime fans. Apart from those worthy functions, The Outsider is also shrewdly made, illuminating its subject in a variety of settings and, at times, subtly assuming the style of Toback's films.
    • 81 Metascore
    • 100 Mick LaSalle
    Extraordinary and beautiful.
    • 58 Metascore
    • 100 Mick LaSalle
    A Hologram for the King has great energy, and also a languorous, lived-in quality.
    • 69 Metascore
    • 100 Mick LaSalle
    It's not enough to say that Inglourious Basterds is Quentin Tarantino's best movie. It's the first movie of his artistic maturity, the film his talent has been promising for more than 15 years.
    • 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.
    • 62 Metascore
    • 100 Mick LaSalle
    Two hours of nonstop, nail-biting tension and anxiety.
    • 64 Metascore
    • 100 Mick LaSalle
    At its best, Fury examines the psychological experience of warfare.
    • 58 Metascore
    • 100 Mick LaSalle
    An intriguing document, and the first significant film ever made about a former U.S. president.
    • 78 Metascore
    • 100 Mick LaSalle
    Unique and courageous. It may be counted as one of the year's few steps forward in cinema.
    • 85 Metascore
    • 100 Mick LaSalle
    A seriously good movie, a challenge to viewers, a rebuke of the way many Americans live their lives.
    • 83 Metascore
    • 100 Mick LaSalle
    Dumont makes movies that almost nobody wants to see. That doesn't make him a great filmmaker, but he's a great filmmaker all the same.
    • 62 Metascore
    • 100 Mick LaSalle
    Forestier's performance is a tour de force of comic acting, maintaining astonishing alertness and energy from shot to shot and scene to scene.
    • 100 Metascore
    • 100 Mick LaSalle
    I'm as reluctant to stop writing about this movie as I was to stop watching it: At 166 minutes, it flies by, and you don't want to leave that world. But one thing is certain: This isn't the last word. People will be writing about this film for years - and looking at it to discover the lost history of our time.
    • 75 Metascore
    • 100 Mick LaSalle
    You should have the opportunity to experience the movie the way I did, in complete ignorance, enjoying its every weird turn.
    • 67 Metascore
    • 100 Mick LaSalle
    There's nothing like a good story, and The Galapagos Affair: Satan Comes to Eden has a great one that grabs viewers from the first minute and holds on for two solid hours.
    • 60 Metascore
    • 100 Mick LaSalle
    Mischievous, singular and profound.
    • 64 Metascore
    • 100 Mick LaSalle
    Won the Golden Spire Award at the San Francisco International Film Festival a few years back, and now, finally, the documentary is being released into theaters. It's a film with distinct virtues: It tells a fascinating story.
    • 76 Metascore
    • 100 Mick LaSalle
    As Marguerite, Frot is a completely open vessel, ready to receive the muse that cannot come. She has a childlike quality here, but she also seems (and this is both funny and sad) very much the mature artist.
    • 72 Metascore
    • 100 Mick LaSalle
    Let It Rain touches on class issues, feminism, immigration and the particular challenges facing a single, driven career woman in her 40s. But it's graceful in presenting its ideas, and what emerges is not a polemic but a kind of snapshot of modern-day concerns.
    • 65 Metascore
    • 100 Mick LaSalle
    It's a good movie not because it says the right things but because it says those things well. [18 Sept 1992, p.C3]
    • San Francisco Chronicle
    • 93 Metascore
    • 100 Mick LaSalle
    It’s a beautiful and hopeful film, coming at a time when there isn’t much beauty or hope in our movies, and it’s the type of picture — a sprawling, exuberant musical drama — that hasn’t been seen in decades.
    • 91 Metascore
    • 100 Mick LaSalle
    Feels positively Greek in its magnitude, a lament about fate, age, time and life.
    • 39 Metascore
    • 100 Mick LaSalle
    There's no pretending this is a perfect movie. Yet I doubt I could have enjoyed it more if it were. [25 Nov 1992, p.E1]
    • San Francisco Chronicle
    • 82 Metascore
    • 100 Mick LaSalle
    Rachel Weisz - in what has to be the performance of her career, and there have been lots of good ones - plays an intelligent woman in the grip of a lust that's too big to handle or suppress. She can either ride the tiger or be devoured.
    • 80 Metascore
    • 100 Mick LaSalle
    Morgan finds the right elements of action and character through which to make history leap off the page.
    • 77 Metascore
    • 100 Mick LaSalle
    One of the smartest and most impassioned films about Christianity in recent memory, though to say that might give the wrong impression. In tone and strategy, the film is low-key and subtle; and the story can be appreciated both for its surface qualities and its deeper intentions.
    • 93 Metascore
    • 100 Mick LaSalle
    Spotlight one of the best movies about journalism ever made, at once gripping and accurate. It doesn’t just get the big things right, such as how news stories evolve, but the small things, such as what offices look like and how staff tends to react to a new boss.
    • 71 Metascore
    • 100 Mick LaSalle
    A dark comedy that confirms Diablo Cody as a screenwriter of importance, eliminates the last shred of doubt that Jason Reitman is a major director and gives Charlize Theron her best showcase since "Monster."
    • 63 Metascore
    • 100 Mick LaSalle
    The goal of this review - why not just say it? - is to disclose as little about the story as possible while instilling a ravenous and even rabid desire to see Love Crime immediately.
    • 63 Metascore
    • 100 Mick LaSalle
    A disturbing film about grim subject matter, but the overall experience is more exhilarating than saddening. There's just something satisfying about seeing a movie so well made.
    • 69 Metascore
    • 100 Mick LaSalle
    An intelligent, well-made film about a seemingly well-adjusted, likable and loquacious woman.
    • 75 Metascore
    • 100 Mick LaSalle
    Anyone with any doubt as to the importance, in a functioning democracy, of American newspapers - with working newsrooms full of professional, paid journalists - needs to see this movie.
    • 73 Metascore
    • 100 Mick LaSalle
    Almodóvar presents this material in a way that never splits our attention, even as he’s giving us a deluge of sensory and emotional detail. It’s as if he’s internalized the story so completely that he can’t make a gesture — can’t move the camera, can’t shape a moment — without saying something true.
    • 82 Metascore
    • 100 Mick LaSalle
    Lindon is a strong, sensitive actor, heir to the stoic French working-class tradition of Jean Gabin and Lino Ventura. And not enough can be said for Kiberlain, an actress willing to be seen in all her ranges.
    • 67 Metascore
    • 100 Mick LaSalle
    Director Bernard Rose has created a committed, intelligent and fascinating piece of work with no irony about it.
    • 73 Metascore
    • 100 Mick LaSalle
    Christian McKay who, as Orson Welles in Me and Orson Welles"gives what I believe is the most exact and uncanny screen portrayal of an historical figure, ever.
    • 57 Metascore
    • 100 Mick LaSalle
    A film of audacity and total gut-level appeal.
    • 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.
    • 68 Metascore
    • 100 Mick LaSalle
    The story is minimal, just a series of events in the life of a young man and his circle, but every scene is rendered with such authenticity that it’s riveting, almost like it’s a privilege to be stepping back in time.
    • 88 Metascore
    • 100 Mick LaSalle
    There's such a thing as smart angry, and such a thing as stupid angry, and after seeing Inside Job, audiences will be smart angry.
    • 78 Metascore
    • 100 Mick LaSalle
    One of the best films to open in the Bay Area in 2007.
    • 74 Metascore
    • 100 Mick LaSalle
    The movie's satisfactions are subtle, but they run deep, and there are many.
    • 67 Metascore
    • 100 Mick LaSalle
    A funny movie, but also a serious movie, and — who knows? — maybe an important one.
    • 56 Metascore
    • 100 Mick LaSalle
    What's much more fascinating and enriching is Eastwood's Olympian vision, the sympathetic and all-encompassing understanding of the pain and grandeur of life on earth.
    • 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.
    • 75 Metascore
    • 100 Mick LaSalle
    Virtually everyone who sees this movie will be galvanized to do something about global warming -- and everyone should see this movie.
    • 77 Metascore
    • 100 Mick LaSalle
    Here's another thought: This old man who can't leave the house has just made the first important film of 2010.
    • 63 Metascore
    • 100 Mick LaSalle
    This is an acerbic examination of erotic obsession, told from different perspectives, with wit, suspense and cold-blooded detachment.
    • 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.
    • 69 Metascore
    • 100 Mick LaSalle
    This is one of the funniest movies of the year.
    • 86 Metascore
    • 100 Mick LaSalle
    With its dry, throwaway humor and constant stream of chuckles, it creates its own category of stealth comedy.
    • 51 Metascore
    • 100 Mick LaSalle
    A film of real beauty, which is surprising, since it's not a movie of beautiful sentiments or settings.
    • 76 Metascore
    • 100 Mick LaSalle
    For pure laughs, for the experience of just sitting in a chair and breaking up every minute or so, Superbad is 2007's most successful comedy.

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