For 2,638 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 School Ties
Lowest review score: 0 Maudie
Score distribution:
2638 movie reviews
    • 79 Metascore
    • 75 Mick LaSalle
    In The Five Obstructions, we meet the Danish filmmaker for an extended period, and he's exactly what a fan might hope and expect him to be like: impish, insightful, unpredictable, mildly sadistic and rigorously honest.
    • 75 Metascore
    • 75 Mick LaSalle
    Baadasssss! is the portrait of a visionary with a blind spot, a man starved for kindness who can no longer recognize the responsibility to be kind, even to his kids. But it's a portrait of a visionary nonetheless.
    • 53 Metascore
    • 75 Mick LaSalle
    It's warm, spontaneous and heartfelt. Zeffirelli cared about his memories, and he's done justice to them.
    • 55 Metascore
    • 75 Mick LaSalle
    I liked every minute in it. Other films are like empty containers; this one's full. It's full of invention, full of moments, full of business, full of the nuances of human interaction, full of feeling.
    • 53 Metascore
    • 75 Mick LaSalle
    Makes a persuasive case.
    • 78 Metascore
    • 75 Mick LaSalle
    By the end, it is clear just how much in control Sayles has been all along. The resolution, though typically restrained, forcefully puts over the movie's point, that we're all more connected than we think.
    • 48 Metascore
    • 75 Mick LaSalle
    A sharp, engaging look at what it's like to be hungry and not-so-young in New York.
    • 59 Metascore
    • 75 Mick LaSalle
    Although I, Robot provokes thought, it doesn't exactly deliver thought, despite the occasional Cartesian reference to "ghosts in the machine."
    • 27 Metascore
    • 75 Mick LaSalle
    For Friday night this will do just fine. It's definitely a good matchup -- Stone's cynical bravado versus Berry's resilient spunkiness in a world-class cat fight.
    • 64 Metascore
    • 75 Mick LaSalle
    Cop Land isn't a perfect piece, but it's sober, wise and adult.
    • 76 Metascore
    • 75 Mick LaSalle
    [Streep] isa pleasure to watch -- and to marvel at -- every second she's onscreen.
    • 71 Metascore
    • 75 Mick LaSalle
    A strange almost-thriller.
    • 61 Metascore
    • 75 Mick LaSalle
    At times The Game is frustrating to watch, but that's just a measure of how well Fincher succeeds in putting us in his hero's shoes.
    • 71 Metascore
    • 75 Mick LaSalle
    Collateral is a good idea for a movie, backed up by expert execution... It's straight-up entertainment, not something to see and then talk about a month later, but definitely something to enjoy.
    • 58 Metascore
    • 75 Mick LaSalle
    Capable of astonishing even the already cynical.
    • 66 Metascore
    • 75 Mick LaSalle
    A movie for adults, of a kind that usually isn't made in America,
    • 53 Metascore
    • 75 Mick LaSalle
    Yet something's missing in director Mira Nair's treatment -- specifically, a point of view about the material, a compelling reason for this historical excavation beyond the fact that Reese Witherspoon makes a convincing Becky Sharp.
    • 48 Metascore
    • 75 Mick LaSalle
    By avoiding the usual animation cliches, by keeping the story moving, the pictures pretty and the characters consistently amusing, director and co- writer Rob Letterman cobbles together an entertaining 90 minutes.
    • 55 Metascore
    • 75 Mick LaSalle
    A risky, foolish, intelligent comedy.
    • 70 Metascore
    • 75 Mick LaSalle
    Compelling.
    • 83 Metascore
    • 75 Mick LaSalle
    Expansive, but succinct. Leigh tells a small story and doesn't try to make something huge of it.
    • 61 Metascore
    • 75 Mick LaSalle
    The film presents a compelling portrait of mental illness, but looking at Bale may make audiences feel as though they're watching a documentary.
    • 56 Metascore
    • 75 Mick LaSalle
    Hard, ugly and nasty yet a stylistically vigorous and often insightful piece of work.
    • 73 Metascore
    • 75 Mick LaSalle
    Ray
    Foxx's complex performance and the filmmaker's willingness to look at the dark side place Ray safely out of the realm of typical Hollywood hagiography.
    • 49 Metascore
    • 75 Mick LaSalle
    Where Caine was like an arsonist in his relationships, Law's Alfie is more like a kid playing with matches -- innocent and genuinely surprised when things start blowing up around him. Law makes Alfie's befuddlement a surprisingly poignant thing to witness.
    • 73 Metascore
    • 75 Mick LaSalle
    Levinson's sure touch keeps audiences smiling and manages to maintain an aura of good nature in a film that, at heart, offers a caustic, almost bitter vision of American institutions and contemporary politics.
    • 27 Metascore
    • 75 Mick LaSalle
    This is a movie in which the audience knows half the gags in advance, but thanks to director Dennis Dugan's timing and Farley's execution, the audience doesn't just laugh anyway, but laughs harder. Knowing in advance is part of the fun.
    • 49 Metascore
    • 75 Mick LaSalle
    The movie is rich with music and more than a few moments of painful exaltation.
    • 53 Metascore
    • 75 Mick LaSalle
    One of the most witty, entertaining family films to come out in some time.
    • 79 Metascore
    • 75 Mick LaSalle
    It's sober, never flashy or exciting but always engrossing.
    • 47 Metascore
    • 75 Mick LaSalle
    Seizes on a primal fear and flogs it for two hours.
    • 77 Metascore
    • 75 Mick LaSalle
    The Aviator has a hole in its center, and Scorsese fills it the only way he can, with spectacle. He makes The Aviator colorful and entertaining from beginning to end. There are worse things.
    • 62 Metascore
    • 75 Mick LaSalle
    It's almost a great movie. For half of its running time, Anderson maintains a distinct and arresting tone of vague absurdity, and then he loses control and the film begins to dip into silliness. Individual scenes become labored. Yet even at its worst, The Life Aquatic is always interesting -- there's really nothing else like it.
    • 53 Metascore
    • 75 Mick LaSalle
    Reveals essential truthfulness about families.
    • 72 Metascore
    • 75 Mick LaSalle
    Tasteful but not compromised.
    • 63 Metascore
    • 75 Mick LaSalle
    A faithful portrait of a period in American social history.
    • 43 Metascore
    • 75 Mick LaSalle
    So fascinating and has so many implications that it balances out some real flaws in the story.
    • 76 Metascore
    • 75 Mick LaSalle
    A smooth, elegiac mood piece.
    • 42 Metascore
    • 75 Mick LaSalle
    Does what good horror movies do: It taps into the baser emotions.
    • 47 Metascore
    • 75 Mick LaSalle
    Takes viewers into a unique world. It's not just about air traffic controllers. It's about controllers in a specific place and from a specific social background.
    • 78 Metascore
    • 75 Mick LaSalle
    The old saying, "It's hard to find good help nowadays" takes on a new meaning in Murderous Maids.
    • 46 Metascore
    • 75 Mick LaSalle
    At heart this is a thoughtful, well-made movie about something serious.
    • 52 Metascore
    • 75 Mick LaSalle
    An Irish drama that's a lot more sly and a lot less straightforward than it appears on the surface.
    • 55 Metascore
    • 75 Mick LaSalle
    An arresting portrait of a fascinating and somewhat mysterious personality.
    • 41 Metascore
    • 75 Mick LaSalle
    An extremely funny movie, and this is coming from someone who barely cracked a smile during ``Friday,'' the first installment of this franchise.
    • 46 Metascore
    • 75 Mick LaSalle
    Half a good romantic comedy. Luke Wilson is the good half...The weak half is Natasha Henstridge.
    • 46 Metascore
    • 75 Mick LaSalle
    Only occasionally does the film fall into the trap of making the prisoners cute, but it never falters in important ways.
    • 86 Metascore
    • 75 Mick LaSalle
    The murder plot is a cheap turn that says nothing about the nature of Suzanne's ambition. Without Suzanne's media-obsession as its focus, To Die For becomes just another fairly good black comedy.
    • 79 Metascore
    • 75 Mick LaSalle
    Benefits enormously from Aiello's down-to-earth magnificence.
    • 55 Metascore
    • 75 Mick LaSalle
    Sexy, peculiar and always entertaining.
    • 64 Metascore
    • 75 Mick LaSalle
    Along the way, this funny picture does exactly what a satire should: It irritates everybody. At least it runs that risk.
    • 54 Metascore
    • 75 Mick LaSalle
    Matches a dingy urban setting with a compelling situation and throws in an ensemble of interesting characters who become even more interesting under stress. This emphasis on character -- in a sense, the movie's underlying humanity -- is what especially links it to the 1970s.
    • 64 Metascore
    • 75 Mick LaSalle
    Does a fine job.
    • 55 Metascore
    • 75 Mick LaSalle
    In Mimic, director Guillermo Del Toro has created a dark, grotesque world that's hard to look at, and impossible to stop looking at.
    • 37 Metascore
    • 75 Mick LaSalle
    It's instantly forgettable, but smooth fun most of the way.
    • 70 Metascore
    • 75 Mick LaSalle
    The best glimpse yet of what it's like to be in Iraq.
    • 74 Metascore
    • 75 Mick LaSalle
    The plot alone is a thing of beauty.
    • 54 Metascore
    • 75 Mick LaSalle
    More accomplished, adventurous and original. Instead of Allen's usual investigation into the nature of existence, this new film looks at the way stories are created, particularly comedies.
    • 49 Metascore
    • 75 Mick LaSalle
    A lot of frivolous but genuine laughs.
    • 72 Metascore
    • 75 Mick LaSalle
    A Hungarian film -- an existential thriller, one might call it -- about an intelligent man who happens to have this lowly nuisance of a job.
    • 62 Metascore
    • 75 Mick LaSalle
    A suspense thriller of rare intelligence.
    • 53 Metascore
    • 75 Mick LaSalle
    Palindromes isn't a wise movie, or a particularly true movie, but it's an honest one and a singular experience.
    • 63 Metascore
    • 75 Mick LaSalle
    Wildly imaginative, humane, playful and deflating of all pretense.
    • 63 Metascore
    • 75 Mick LaSalle
    An exceptionally perceptive film about what it's like to be 19 years old.
    • 41 Metascore
    • 75 Mick LaSalle
    After a month, no one will talk about this movie, ever again. Still, with a picture like this, there's really only one question: Is it any fun? Yes. Lots. Definitely.
    • 63 Metascore
    • 75 Mick LaSalle
    Screenwriter William Monahan has fashioned an intelligent and highly topical epic. Director Ridley Scott has brought it home with banners flying.
    • 73 Metascore
    • 75 Mick LaSalle
    The film is mentally graphic, not sexually graphic.
    • 31 Metascore
    • 75 Mick LaSalle
    A generational spectacle that's fun to witness.
    • 73 Metascore
    • 75 Mick LaSalle
    A crime drama in a special class.
    • 57 Metascore
    • 75 Mick LaSalle
    Madagascar isn't deep and would have no business being deep. But that it keeps one foot in reality is enough to keep us guessing.
    • 63 Metascore
    • 75 Mick LaSalle
    A charming and wise film.
    • 70 Metascore
    • 75 Mick LaSalle
    Best of all, there's just the pleasure of seeing something that's both fantastic to the eye and emotionally dimensional. This is how to make action movies.
    • 34 Metascore
    • 75 Mick LaSalle
    It's funny, easily the funniest and least self-conscious movie that director Nora Ephron has made.
    • 70 Metascore
    • 75 Mick LaSalle
    Intends to inspire outrage, and to an extent it succeeds.
    • 75 Metascore
    • 75 Mick LaSalle
    A good French film that was inspired by an American classic.
    • 80 Metascore
    • 75 Mick LaSalle
    Bergman has not gone soft, not emotionally, philosophically and certainly not artistically. This is as tough a film as he has ever made.
    • 72 Metascore
    • 75 Mick LaSalle
    If all the laughs come from Depp, who gives Willy the mannerisms of a classic Hollywood diva, the film's heart comes from Highmore, a gifted young performer who had a leading role in "Finding Neverland." His performance is sincere, deep and unforced in a way that's rare in a child actor.
    • 65 Metascore
    • 75 Mick LaSalle
    It's a compelling minimalist drama about spiritual evolution, with strong performances and exotic locations.
    • 68 Metascore
    • 75 Mick LaSalle
    So much love went into Hustle & Flow that it almost glows with it.
    • 50 Metascore
    • 75 Mick LaSalle
    The movie is more about how many things Michael Bay can smash up -- lots. That might not be a talent most people respect, but it gets through to people anyway, and here Bay does it exceptionally well.
    • 72 Metascore
    • 75 Mick LaSalle
    A one-joke documentary stretched, with surprising success, to full length.
    • 79 Metascore
    • 75 Mick LaSalle
    A study of middle-class, middle-aged disappointment in its varying forms, a sober look at different life choices.
    • 65 Metascore
    • 75 Mick LaSalle
    An inventive, black comedy.
    • 51 Metascore
    • 75 Mick LaSalle
    The Baxter is just an OK movie, but Showalter's performance is the gem to take from it.
    • 24 Metascore
    • 75 Mick LaSalle
    An old formula made fresh.
    • 46 Metascore
    • 75 Mick LaSalle
    Emily Rose is the thinking person's demon possession movie, which presents a chilling case history that's hard to explain away.
    • 81 Metascore
    • 75 Mick LaSalle
    But for director David Cronenberg and the commitment of his actors, A History of Violence might have been a cartoony action film. Its origins are in a cartoon, of sorts -- specifically, in a graphic novel, by John Wagner and Vince Locke.
    • 82 Metascore
    • 75 Mick LaSalle
    An entertaining and perceptive film with one big problem.
    • 80 Metascore
    • 75 Mick LaSalle
    An entertaining slice of American political and cultural history.
    • 58 Metascore
    • 75 Mick LaSalle
    It should come as no surprise that Jonathan Hensleigh's script was not originally written as a "Die Hard" film. The blend of "Die Hard" and "With a Vengeance" is sometimes smooth but never complete. It's as if "Die Hard" were wearing a rented tux.
    • 72 Metascore
    • 75 Mick LaSalle
    Has some hilarious moments and still succeeds in dramatic terms.
    • 71 Metascore
    • 75 Mick LaSalle
    The fine quality of the new film is good news for anyone disappointed by "Star Trek Generations," which got the new "Star Trek" feature film series off to a shaky start two years ago.
    • 51 Metascore
    • 75 Mick LaSalle
    It's an art-direction, Dolby-sound, special-effects extravaganza, a grand-scale effort that's more awe-inspiring than completely successful as entertainment.
    • 58 Metascore
    • 75 Mick LaSalle
    A harsh and thoroughly unromantic examination of the scarring effects of war.
    • 62 Metascore
    • 75 Mick LaSalle
    The Dying Gaul has the best kind of story in that it unfolds as a series of surprises, and yet every step, twist and turn seems inevitable in retrospect.
    • 72 Metascore
    • 75 Mick LaSalle
    A passionate, chronicle of an extraordinary artist, and a love story that can't be beat.
    • 66 Metascore
    • 75 Mick LaSalle
    Transamerica provides the frame and the occasion for one of the year's best performances, Felicity Huffman's as a woman trapped in a man's body who's passing for female while awaiting a sex-change operation.
    • 68 Metascore
    • 75 Mick LaSalle
    The World's Fastest Indian might be the world's worst title for a charming, slice-of-life biopic.
    • 74 Metascore
    • 75 Mick LaSalle
    An unlovable movie. It's morally ambiguous, which means there's no real rooting interest. It's episodic, with the same kinds of episodes repeated over and over, so there's little sense of forward motion. It feels philosophically and politically confused, so there's no message to take from it.
    • 60 Metascore
    • 75 Mick LaSalle
    This is Merchant-Ivory's kind of showmanship, the unflashy adult variety of movie magic that they made their hallmark.
    • 38 Metascore
    • 75 Mick LaSalle
    The phrase "lesbian comedy" is not exactly an oxymoron, but April's Shower is still a rarity, an expansive, talky and often zany romantic farce, with lesbian characters at its center.
    • 53 Metascore
    • 75 Mick LaSalle
    A funny and appropriately skewed comedy.
    • 59 Metascore
    • 75 Mick LaSalle
    Underlying the story is sadness, a sense of mystery and a quality of pain. Enjoy the movie for its surface pleasures, but when it's over, it's those subterranean qualities that will keep it lingering in the mind.
    • 43 Metascore
    • 75 Mick LaSalle
    At the finish, the filmmakers give us at least three different endings, probably because they have no idea what Freedomland is saying, probably because it's not saying much of anything. But a film with this many virtues can't be written off as just another average entry.
    • 76 Metascore
    • 75 Mick LaSalle
    The film holds us rapt not through narrative suspense but through the eerie and demanding spectacle of profound moral courage, of a powerless good person in collision with absolute evil.
    • 70 Metascore
    • 75 Mick LaSalle
    It takes an extraordinary film on the order of Joyeux Noel to make it all suddenly vital, immediate and human.
    • 66 Metascore
    • 75 Mick LaSalle
    Obviously, Barrymore is not ideally cast outside modern times, but her presence is so good-natured that she makes an audience want to work with her.
    • 44 Metascore
    • 75 Mick LaSalle
    It's fresh, unexpected and goofy. It's not a smart career move, just a film that its director wanted to make for some crazy reason, and he made it.
    • 61 Metascore
    • 75 Mick LaSalle
    Its one flaw occurs when the film concocts a fake conflict between the women in an attempt to add some drama. The plot device doesn't do great damage, but it is enough to keep the film from being a hands-down four-star movie.
    • 47 Metascore
    • 75 Mick LaSalle
    "The Family Stone" did nothing for Parker, but Failure to Launch makes a strong case for life after "Sex and the City."
    • 71 Metascore
    • 75 Mick LaSalle
    The picture... is well- made and entertaining, but it holds a special interest in what it says about Hanks.
    • 71 Metascore
    • 75 Mick LaSalle
    A glib satire with a slick surface, lots of snappy patter and nothing to sell but its own cleverness.
    • 45 Metascore
    • 75 Mick LaSalle
    The rare case of a movie that gets better as it goes along.
    • 49 Metascore
    • 75 Mick LaSalle
    A well-constructed and genuinely tense thriller.
    • 64 Metascore
    • 75 Mick LaSalle
    Floats on the charm and the labors of its lead actress, Gretchen Mol, who single-handedly makes the picture worth seeing.
    • 40 Metascore
    • 75 Mick LaSalle
    Intelligent, observant entertainment designed for an adult audience.
    • 90 Metascore
    • 75 Mick LaSalle
    There's just nothing artful about it, and it's Greengrass who deserves the credit. These nonactors don't act the way most people do when playing themselves. They act the way people do when they're being themselves.
    • 66 Metascore
    • 75 Mick LaSalle
    In Mission: Impossible III, we find out whether it's still possible to look at Tom Cruise and not see a weirdo. The answer is yes, but a complicated yes, because it takes time.
    • 99 Metascore
    • 75 Mick LaSalle
    Everything Melville shows us, he shows us for a reason, and these reasons are never obscure but are rather pertinent to the action and to the moral movement of the world and the characters.
    • 44 Metascore
    • 75 Mick LaSalle
    The across-the-board strong performances indicate a sure directorial hand. Everyone is made vivid, down to the smallest roles.
    • 57 Metascore
    • 75 Mick LaSalle
    The tribute to an aging parent is moving and gives this routine comedy an extra something.
    • 73 Metascore
    • 75 Mick LaSalle
    Under the cover of what seems like a charmingly slapdash style, the Duplass brothers have created a disarmingly shrewd movie.
    • 52 Metascore
    • 75 Mick LaSalle
    The measure of this kind of movie is its seductiveness, not its logic, nor the ways in which it exploits the supernatural angle, and The Lake House is seductive.
    • 37 Metascore
    • 75 Mick LaSalle
    Sometimes excessiveness and implausibility are virtues in disguise. Movies this enjoyable don't come about by accident.
    • 62 Metascore
    • 75 Mick LaSalle
    Prada just feels authentic, from its glossy look to the specific and sometimes curious behavior of the secondary and tertiary characters. To watch it is like being entertained while getting an anthropological crash course.
    • 70 Metascore
    • 75 Mick LaSalle
    A balanced examination of the reasons for the electric car's disappearance, reasons that include corporate collusion and greed, governmental spinelessness and oil company propaganda -- but also consumer indifference and the limitations of the vehicles themselves.
    • 73 Metascore
    • 75 Mick LaSalle
    The film offers something unusual, a tragic spectacle of normal, recognizable and utterly sympathetic people condemning themselves.
    • 57 Metascore
    • 75 Mick LaSalle
    This is like any other Edward Burns film, except for one thing. It's unmistakably better. This is the movie I believe Burns has been trying to make since "The Brothers McMullen," 11 years ago.
    • 79 Metascore
    • 75 Mick LaSalle
    The film's impact has a lot to do with Fabio Vacchi's original score, which is both plaintive and coldly modernist, with echoes of Charles Ives.
    • 68 Metascore
    • 75 Mick LaSalle
    Monster House was designed as a family movie and a scary movie. It may scare children, but it won't terrify them. So it's no scarier than it should be.
    • 48 Metascore
    • 75 Mick LaSalle
    It's really, really funny.
    • 66 Metascore
    • 75 Mick LaSalle
    This is a decidedly blue-state take on a red-state phenomenon.
    • 74 Metascore
    • 75 Mick LaSalle
    Claude Chabrol has a wonderful way of making audiences nervous.
    • 58 Metascore
    • 75 Mick LaSalle
    If you can find a better time at the movies this year than this wild comic thriller, let me in on it.
    • 62 Metascore
    • 75 Mick LaSalle
    A smart, sexy romantic drama, directed within an inch of its life by Hans Canosa.
    • 68 Metascore
    • 75 Mick LaSalle
    A rich and elegant film, full of sly, devious characters with complicated motives.
    • 71 Metascore
    • 75 Mick LaSalle
    A grim and sometimes funny examination of life on the margins and of a singular artist's world.
    • 74 Metascore
    • 75 Mick LaSalle
    Powerfully documents the human cost of the Iraq war.
    • 64 Metascore
    • 75 Mick LaSalle
    Within limits, this is an excellent documentary. Even fans who think they've seen everything will see things here they haven't seen.
    • 85 Metascore
    • 75 Mick LaSalle
    There's no attempt at greatness here, just a fabulously successful attempt at a good crime movie. The Oscar-bait self-consciousness of "Gangs of New York" and "The Aviator" is gone. In its place is a buoyancy, an impish delight in telling a harsh urban story in the most effective terms possible.
    • 84 Metascore
    • 75 Mick LaSalle
    Taken as a whole, these films constitute one of the greatest uses of cinema a documentary filmmaker has ever devised. Like the other films in the series, 49 Up is alternately touching and mundane, part soap opera, part reality show and part anthropological study.
    • 39 Metascore
    • 75 Mick LaSalle
    Man of the Year remains an interesting proposition throughout, and a tale well told.
    • 68 Metascore
    • 75 Mick LaSalle
    Watch Infamous on its own. It's a worthy film in its own right, with its own virtues.
    • 78 Metascore
    • 75 Mick LaSalle
    Washington, no surprise, is terrific, his sensitivity offset with touches of knowing, self-deprecating humor.
    • 62 Metascore
    • 75 Mick LaSalle
    The mysteries of Dolores Claiborne are never gripping enough to consume an audience, and there are few, if any, surprises along the way. But the women are wonderful and reason enough to see the picture.
    • 63 Metascore
    • 75 Mick LaSalle
    The picture... is simple, sweet and elegantly written, and it benefits from the presence of Marlon Brando.
    • 58 Metascore
    • 75 Mick LaSalle
    The real item under consideration here is the movie itself, and the bottom line is that it lands in a humane place. True, any viewer will go in with a certain curiosity, ghoulish or otherwise, about what it's like to jump off a bridge, and yet the overall effect of the film is broadening. To see it is to dread the bridge jumps and to come away with a feeling of compassion and empathy.
    • 68 Metascore
    • 75 Mick LaSalle
    A modest documentary, small in scope and ambition, but it achieves one of the higher callings of art in that it forces viewers to look at a something in a newer, deeper and more humane way.
    • 67 Metascore
    • 75 Mick LaSalle
    In a film that easily could have been cold or ironical, Ferrell provides the emotional thrust.
    • 49 Metascore
    • 75 Mick LaSalle
    Curiously, the film seems to have no discernible point, and yet -- this is practically unique -- the absence of a point becomes, in itself, a form of narrative interest.
    • 68 Metascore
    • 75 Mick LaSalle
    Some people may be put off that For Your Consideration lands in a serious place. But I see it as evidence of an expanding vision, of continued artistic growth.
    • 52 Metascore
    • 75 Mick LaSalle
    By grounding everything that went before in an earthy realism, Hardwicke earns the elevation of the nativity sequence, one of the more beautiful scenes in this year's cinema.
    • 76 Metascore
    • 75 Mick LaSalle
    Indeed, without Hudson's magic, without that extra feeling that comes from seeing the launch of something extraordinary, Dreamgirls might have been a break-even affair. The film has strong roles, good actors and a compelling story that takes place over the course of 10 or 15 years. But it has, with only a couple of exceptions, a pedestrian score that sounds like generic show-music schlock and lyrics that are not distinctive.
    • 57 Metascore
    • 75 Mick LaSalle
    Dreamland has vitality and emotional truth underlying all its interactions. And the young women, Agnes Bruckner and Kelli Garner, are superb.
    • 59 Metascore
    • 75 Mick LaSalle
    Succeeds in making the case that the hatred that seemed dead and buried 60 years ago is alive and growing and beginning to present itself once again as a threat to humane civilization.
    • 89 Metascore
    • 75 Mick LaSalle
    Far superior to its companion piece, "Flags of Our Fathers," released earlier this year, "Letters" is a grim and humane film that has to be counted among the director's better efforts.
    • 64 Metascore
    • 75 Mick LaSalle
    Will Smith has the right quality for the role -- he's an easy man to root for -- but he augments this by channeling some inner quality of desperation and need.
    • 45 Metascore
    • 75 Mick LaSalle
    This is a movie about power, and its spectacle is that of a woman losing all of it.
    • 64 Metascore
    • 75 Mick LaSalle
    In many ways a meandering film, a collection of good scenes.
    • 45 Metascore
    • 75 Mick LaSalle
    Even more nihilistic and confused than "Narc," and yet a lot better. It's better for some specific and interesting reasons.
    • 75 Metascore
    • 75 Mick LaSalle
    Those who love Nader will appreciate the respect and attention given his career. Yet others, even those for whom the mere sight of Nader's face is enough to cause a spike in blood pressure, will appreciate the film's evenhanded elucidation of Nader's faults.
    • 27 Metascore
    • 75 Mick LaSalle
    If Eddie Murphy gets an Oscar for "Dreamgirls" later this month, the deciding factor with voters may be his performance in Norbit. It's much more impressive than anything he does in "Dreamgirls."
    • 59 Metascore
    • 75 Mick LaSalle
    Lawrence's take on pop music success is exactly right, satiric without being absurdist, and therefore a prize worth the effort.
    • 65 Metascore
    • 75 Mick LaSalle
    Anyone who has ever felt morally right and completely in the minority will have a point of entry into this movie.
    • 52 Metascore
    • 75 Mick LaSalle
    300
    Significantly, this hyper-stylization of 300 is limited to its visuals. The performances are played straight, and this combination -- straight performances and stylized visuals -- produces an uncanny effect.
    • 66 Metascore
    • 75 Mick LaSalle
    Though many of Parker's well- known wisecracks make their way into the screenplay, Mrs. Parker ultimately does not give us the Dorothy Parker of legend.
    • 72 Metascore
    • 75 Mick LaSalle
    Polanski directs the film without a wasting a moment. The occasional humor does nothing to relieve tension but, as in a Hitchcock picture, has a way of increasing it.
    • 94 Metascore
    • 75 Mick LaSalle
    A worthy, fascinating film..
    • 77 Metascore
    • 75 Mick LaSalle
    The Rodriguez segment is terrific; the Tarantino one long-winded and juvenile.
    • 70 Metascore
    • 75 Mick LaSalle
    A personal story with broad implications for the culture as a whole.
    • 31 Metascore
    • 75 Mick LaSalle
    To see Perfect Stranger is to wish for a more sophisticated vehicle for a film actress this good, but actors -- and audiences -- take what they can get. This is better than most.
    • 51 Metascore
    • 75 Mick LaSalle
    It's a maddening, satisfying, junky, enjoyable picture.
    • 50 Metascore
    • 75 Mick LaSalle
    Ryan's comic timing continues to delight, while Kline is touchingly heartfelt as a man doing what is evidently all too easy to do -- fall in love with Meg Ryan.
    • 43 Metascore
    • 75 Mick LaSalle
    The film is a methodical and loving examination of two people constructing a fantasy for themselves. [08 Oct 1993]
    • San Francisco Chronicle
    • 68 Metascore
    • 75 Mick LaSalle
    What audiences want when they go to a suspense thriller.
    • 68 Metascore
    • 75 Mick LaSalle
    An enjoyable farce, with lots of laughs and a strong cast. At 80 minutes long, it's that rare case of a short film that should have been longer.
    • 55 Metascore
    • 75 Mick LaSalle
    Fresh music and silly dialogue - those aspects of Purple Rain haven't changed over the years. [Review of re-release]
    • 66 Metascore
    • 75 Mick LaSalle
    The result is that after two hours one gets the sense of having seen a panorama of human experience, of having witnessed a moment of time in all its true fullness.
    • 81 Metascore
    • 75 Mick LaSalle
    It's still a good [movie], with its self-contained world of concert arenas and smoky clubs and sad, weird people who linger in the mind.
    • 58 Metascore
    • 75 Mick LaSalle
    Gets back the mood, the pleasure and even some of the freshness of its first installment.
    • 73 Metascore
    • 75 Mick LaSalle
    Captures the flavor of putting on a show on Broadway.
    • 52 Metascore
    • 75 Mick LaSalle
    You won't see another film like Fay Grim this year, and we should give Hartley credit for making it work on his own terms.
    • 53 Metascore
    • 75 Mick LaSalle
    An entertaining film that's true to its world.
    • 75 Metascore
    • 75 Mick LaSalle
    The movie is directed by Anjelica Huston, and like a lot of actors who direct, Huston shows an ability to elicit strong emotions from her actors. But Huston also demonstrates a sense of where to place the camera. [13 Dec 1996, p.C1]
    • San Francisco Chronicle
    • 67 Metascore
    • 75 Mick LaSalle
    Underneath the seeming blandness of its presentation -- the sparse dialogue, the affectless characters -- there's a ferocious and caustic view of humanity.
    • 62 Metascore
    • 75 Mick LaSalle
    The Man Without a Face saves itself from sugary sweetness by presenting the friendship of McLeod and Chuck against a harsh small-town background. The screenplay takes off in some strong directions, while Gibson, in his first film as a director, keeps it honest all the way. [25 Aug 1993, p.E1]
    • San Francisco Chronicle
    • 48 Metascore
    • 75 Mick LaSalle
    The overall experience of the movie is of something fresh.
    • 81 Metascore
    • 75 Mick LaSalle
    It's not a film for children, and it's not even something children would like. It's challenging and disturbing and uncanny in the ways it captures the nature of dreams -- their odd logic, mutability and capacity to hint at deepest terrors.
    • 49 Metascore
    • 75 Mick LaSalle
    Something kicks in about two thirds in, and Far and Away becomes exhilarating. [22 May 1992]
    • San Francisco Chronicle
    • 36 Metascore
    • 75 Mick LaSalle
    A nonstop action picture with a fair amount of laughs, car chases and exploding buildings. [15 May 1992]
    • San Francisco Chronicle
    • 61 Metascore
    • 75 Mick LaSalle
    The surprise is that Kindergarten Cop is delightful and entertaining, a cop movie with suspense, no blood and a lot of genuine warmth. The script is intelligent and plays to the unique strengths of Schwarzenegger as a star. [21 Dec 1990, p.E1]
    • San Francisco Chronicle
    • 85 Metascore
    • 75 Mick LaSalle
    Knocked Up has some rough edges, but it's a noteworthy film by a significant and blossoming talent.
    • 45 Metascore
    • 75 Mick LaSalle
    The appeal of Mr. Brooks is as obvious as it is hard to resist: Kevin Costner as a serial killer.
    • 62 Metascore
    • 75 Mick LaSalle
    A satisfying story of a grand-scale swindle, but it also retains the impishness and charm of "Ocean's Twelve." Even better, it solves the Roberts problem in the most thorough and economical way possible: She's not in the movie.
    • 47 Metascore
    • 75 Mick LaSalle
    Eddie Murphy's latest picture, Coming to America, is a harmless, fairly amusing comedy that will delight Eddie Murphy fans and keep everyone else mildly entertained. [30 Jun 1988, p.E1]
    • San Francisco Chronicle
    • 38 Metascore
    • 75 Mick LaSalle
    Scrooged doesn't pack the wallop of "A Christmas Carol" - you won't cry or walk out resolving to become a better person - but it's a funny and imaginative high-class effort. Best of all, it stars Bill Murray, who has only to raise an eyebrow to get laughs. [23 Nov 1988, p.E1]
    • San Francisco Chronicle
    • 45 Metascore
    • 75 Mick LaSalle
    One of the most enjoyable pictures of the season.
    • 63 Metascore
    • 75 Mick LaSalle
    The Lost Boys is a horror movie that's funny without making fun of itself and scary without trying to make you sick. [31 Jul 1987, p.86]
    • San Francisco Chronicle
    • 64 Metascore
    • 75 Mick LaSalle
    This is the old stuff, the good stuff, the tried-and-true stuff of shrewdly accomplished audience manipulation.
    • 45 Metascore
    • 75 Mick LaSalle
    The constant shifting between today and years ago is, in and of itself, powerful.
    • 64 Metascore
    • 75 Mick LaSalle
    Despite the fact that both protagonists are equally appalling, the screenplay seems to have a soft spot for the woman. However, this doesn't take away from the fun of watching the two characters tear each other to pieces.
    • 65 Metascore
    • 75 Mick LaSalle
    Along the way, My Best Friend offers insights into the emotional and psychological components of both friendliness and friendship. They're not synonymous, though both have value.
    • 52 Metascore
    • 75 Mick LaSalle
    An oddly structured tale about Francisco Goya and the Spain that he lived and worked in.
    • 85 Metascore
    • 75 Mick LaSalle
    A thoughtful, satisfying action thriller.
    • 67 Metascore
    • 75 Mick LaSalle
    Perhaps the most promising thing in 2 Days in Paris is that Delpy shows that she can direct herself.
    • 66 Metascore
    • 75 Mick LaSalle
    Unlike "Pirates," Stardust is anything but a wretched mess. It's a charming and smartly plotted fantasy.
    • 55 Metascore
    • 75 Mick LaSalle
    It's the complexity of Lurie's moral universe that makes it linger in the mind.
    • 45 Metascore
    • 75 Mick LaSalle
    Connects on a gut level in two ways, political and existential.
    • 82 Metascore
    • 75 Mick LaSalle
    A thoroughly entertaining film by a director at the height of his ability.
    • 73 Metascore
    • 75 Mick LaSalle
    A big leap forward for Penn as a director and deserves to be one of the most talked about films of the season.
    • 61 Metascore
    • 75 Mick LaSalle
    Stylized and visually arresting, with intense sex scenes that earned the film an NC-17 rating, Ang Lee's Lust, Caution is an immersion into another time, place and mentality.
    • 82 Metascore
    • 75 Mick LaSalle
    Has a slow build and a strong payoff, but George Clooney is the element that holds it together.
    • 72 Metascore
    • 75 Mick LaSalle
    A story so good that maybe anybody could have turned out something decent.
    • 55 Metascore
    • 75 Mick LaSalle
    A maddening film, maddening in a good way, but maddening nonetheless.
    • 70 Metascore
    • 75 Mick LaSalle
    A gentle comedy, offbeat but never cute, never lewd and never going for shortcut laughs that might diminish character.
    • 76 Metascore
    • 75 Mick LaSalle
    Ridley Scott gives it the grand treatment, 157 minutes worth, but in the end, it doesn't stack up as the portrait of an era (the 1970s, in this case) or an important tale of a criminal mastermind.
    • 47 Metascore
    • 75 Mick LaSalle
    This is responsive, engaged filmmaking, the kind of movie they say Americans don't make.
    • 85 Metascore
    • 75 Mick LaSalle
    The right mix of humor and horror and with not even a shred of sentimentality.
    • 92 Metascore
    • 75 Mick LaSalle
    By the end, The Diving Bell and the Butterfly achieves a victory over difficult material, but celebrating that fact doesn't preclude recognizing the story is not a natural for movies and remains an uneasy match.
    • 57 Metascore
    • 75 Mick LaSalle
    Flawless is a fictional tale, but something in director Michael Radford's conscientious, methodical presentation gives it the feeling of true history.
    • 66 Metascore
    • 75 Mick LaSalle
    This is Baumbach's best yet.
    • 52 Metascore
    • 75 Mick LaSalle
    It isn't elegiac, but enraged. It doesn't look back with sorrow, but forward in dread. And it's made with a clear intention - to stop the Iraq war.
    • 69 Metascore
    • 75 Mick LaSalle
    Clever and enjoyable.
    • 90 Metascore
    • 75 Mick LaSalle
    It's striking how much emotion Satrapi is able to convey through blocky drawings.
    • 49 Metascore
    • 75 Mick LaSalle
    In thematic terms, Cassandra's Dream could be looked at as a rebuttal to "Crimes and Misdemeanors."
    • 68 Metascore
    • 75 Mick LaSalle
    The subtlety is the beauty of it.
    • 74 Metascore
    • 75 Mick LaSalle
    Though the movie has a handful of shots that are downright gross to witness, what makes The Orphanage scary is not what it threatens to show but what it suggests about life.
    • 63 Metascore
    • 75 Mick LaSalle
    For pure, uncomplicated enjoyment, it's the movie to see right now.
    • 67 Metascore
    • 75 Mick LaSalle
    Witty and lively, with a soul to it, as well.
    • 59 Metascore
    • 75 Mick LaSalle
    A sophisticated story of disappointment and accommodation.
    • 50 Metascore
    • 75 Mick LaSalle
    An enjoyable movie with an entertaining angle on a hard-to-resist period of history.
    • 65 Metascore
    • 75 Mick LaSalle
    It's a drama with elements of black comedy and suspense, European in feeling but American in attitude. Just for fun, it's set in 1949, an era of glamour, of Hitchcock and of husbands even more clueless than they are today.
    • 72 Metascore
    • 75 Mick LaSalle
    Stop laughing long enough, and you'll see that it's a picture about compromised lives and love for sale. But no one who watches Priceless will stop laughing for that long.
    • 61 Metascore
    • 75 Mick LaSalle
    Clearly, Peirce's motives are pure. She's not using the "stop-loss" issue as a wedge to make the government or the administration look bad. She's using it to dramatize an injustice and to advocate on behalf of the soldiers.
    • 52 Metascore
    • 75 Mick LaSalle
    Wildly romantic.
    • 65 Metascore
    • 75 Mick LaSalle
    Everything in Water Lilies is more guarded, more complex and far more interesting than it seems.
    • 55 Metascore
    • 75 Mick LaSalle
    There's a lot to appreciate in Street Kings, a tight, propulsive action thriller, but there's one thing to marvel at, and that's James Ellroy's command of story.
    • 67 Metascore
    • 75 Mick LaSalle
    Deserves to ride the wave of the latest, hottest micro-trend in pictures: the romantic comedy for guys.
    • 70 Metascore
    • 75 Mick LaSalle
    Reveals one mystery, only to reveal another that it can't quite penetrate.
    • 79 Metascore
    • 75 Mick LaSalle
    An action sci-fi blockbuster extravaganza that provides cartoon thrills for thinking people. It's the best movie of its kind since the second "Spider-Man" movie four years ago.
    • 65 Metascore
    • 75 Mick LaSalle
    The movie moves. It has action sequences that are so enormous that they won't just wow audiences, but rock them back in their seats and make them laugh at the audacity of it all.
    • 73 Metascore
    • 75 Mick LaSalle
    I'm going to go out on a limb here and say that this is probably the best movie so far this year about a kung-fu fighting panda.
    • 61 Metascore
    • 75 Mick LaSalle
    Embraces its identity as a sci-fi-summer-action-blockbuster extravaganza. Along the way, it actually comes close to finding the balance that Lee was looking for.
    • 95 Metascore
    • 75 Mick LaSalle
    In the moment, it's intermittently transcendent, heartrending and beautiful ... and busy, repetitious and boring.
    • 57 Metascore
    • 75 Mick LaSalle
    A legit action movie.
    • 82 Metascore
    • 75 Mick LaSalle
    An action blockbuster extravaganza that's sadder than sad and never pretends otherwise.
    • 51 Metascore
    • 75 Mick LaSalle
    Mamma Mia! is fun, the music's terrific and the cast is appealing.
    • 47 Metascore
    • 75 Mick LaSalle
    A poignant, quirky and effective alternative to the usual soulless, computer-generated summer fare.
    • 78 Metascore
    • 75 Mick LaSalle
    Breillat is inviting us to really look at sex as it occurs in life, and to engage with it mentally, as a driving mystery of human existence.
    • 47 Metascore
    • 75 Mick LaSalle
    Knowing nothing about "X-Files" is no impediment to appreciating this for the well-acted, adult piece of work that it is.
    • 73 Metascore
    • 75 Mick LaSalle
    The film is thorough and entertaining. It's enthusiastic about his contributions, but it's no hagiography, and it serves as both a celebration and a cautionary tale.
    • 58 Metascore
    • 75 Mick LaSalle
    After the heights of "Casino Royale," the series falls back into routine with this above-average thriller, filled with over-the-top action, familiar Bond atmosphere and a story that's impossible to follow - and why bother anyway? Daniel Craig is still the coolest man in the universe. That definitely helps.
    • 47 Metascore
    • 75 Mick LaSalle
    The mix of comedy and drama is winning; Costner couldn't be better, and the little girl is a find.
    • 62 Metascore
    • 75 Mick LaSalle
    An amusing bauble.
    • 73 Metascore
    • 75 Mick LaSalle
    Would be worthy of the highest rating, except for a slight slackening of energy in the last 20 minutes.
    • 56 Metascore
    • 75 Mick LaSalle
    W.
    In the end, W. makes up in immediacy what it lacks in objectivity.
    • 47 Metascore
    • 75 Mick LaSalle
    A conventional suspense thriller, but the details kick it up a notch.
    • 56 Metascore
    • 75 Mick LaSalle
    It's a delicate, intelligent movie about modern parenthood and the pressures that children face, and it features a cast of talented actors who were clearly committed to the movie's message.
    • 45 Metascore
    • 75 Mick LaSalle
    At times almost unbearably ugly, but by the time you walk out of the theater, you know you've seen something.
    • 58 Metascore
    • 75 Mick LaSalle
    An impressive and imaginative fantasy.
    • 64 Metascore
    • 75 Mick LaSalle
    A shrewd satire about stardom and the cult of celebrity.
    • 55 Metascore
    • 75 Mick LaSalle
    Told from a different angle than any other Holocaust film I've seen.
    • 84 Metascore
    • 75 Mick LaSalle
    With Desplechin, it doesn't ever feel as though he's straining to show us things. It's more like we're just hanging out. We're in this house, and by some strange coincidence, every time we turn around, something interesting is happening.
    • 65 Metascore
    • 75 Mick LaSalle
    A satisfying combination of great songs and strong dramatic performances.
    • 80 Metascore
    • 75 Mick LaSalle
    A film that might have seemed faintly academic six months ago becomes an anxious expression of its historical moment.
    • 68 Metascore
    • 75 Mick LaSalle
    There seems to be something about the story itself that's better suited to the stage than the screen.
    • 92 Metascore
    • 75 Mick LaSalle
    This is the most realistic film about teaching that you're ever likely to see.
    • 36 Metascore
    • 75 Mick LaSalle
    A spiritual successor to "The Pursuit of Happyness," but darker and more oblique.
    • 63 Metascore
    • 75 Mick LaSalle
    Under the subdued, dignified surface, this movie - about the 24 hours after a one-night stand - churns with a filmmaker's fascination and wonder, sadness and longing.
    • 50 Metascore
    • 75 Mick LaSalle
    I won't tell you Taken is great, but it's great fun.
    • 47 Metascore
    • 75 Mick LaSalle
    Never soars, but it never flags. It remains brisk, engaging and pleasant throughout, and face it: If a movie this well made had Spanish or French subtitles, we'd all be talking about it as a searing examination of sexual politics.
    • 52 Metascore
    • 75 Mick LaSalle
    Won't go down as an action thriller for the record books, but it's a pretty good one for right now. First of all, the villain is a bank. How's that for timing?
    • 64 Metascore
    • 75 Mick LaSalle
    For about 115 minutes, State of Play tells an alarming, tightly constructed story, with serious things to say about journalism and the state of the country. The movie appears to be all but over - and likely to stand as one of the best films of 2009. And then the filmmakers add one last embellishment, and they blow it.
    • 88 Metascore
    • 75 Mick LaSalle
    Up
    Has some great movie moments but also boring stretches.
    • 61 Metascore
    • 75 Mick LaSalle
    That Sunshine Cleaning was made by women is best revealed in the filmmakers' willingness to let the story breathe on its own terms, without bringing in anything extraneous, unwelcome and exciting.
    • 73 Metascore
    • 75 Mick LaSalle
    The funniest movie so far this year.
    • 77 Metascore
    • 75 Mick LaSalle
    There are some brief minutes when the tension drops and the story starts to sag, but Fukunaga almost always fills the frame with something worth seeing, and the story has a built-in suspense.
    • 70 Metascore
    • 75 Mick LaSalle
    An engaging romantic comedy that's deeper, smarter and more pessimistic than it appears at first glance, a film with shrewd insight into the mysteries of human attraction.
    • 76 Metascore
    • 75 Mick LaSalle
    This film makes you wonder why aren't there more young love movies?
    • 54 Metascore
    • 75 Mick LaSalle
    Funnier than the silliest comedy because it's surprisingly real.
    • 48 Metascore
    • 75 Mick LaSalle
    Often silly but it's an honest, unselfconscious exploration of the conflict between a man's physical and psychological age.
    • 81 Metascore
    • 75 Mick LaSalle
    We see the tormented, limited and potentially dangerous man underneath.
    • 20 Metascore
    • 75 Mick LaSalle
    Has an air of detachment and sadness, enhanced by the movie's being set a full quarter century ago.
    • 62 Metascore
    • 75 Mick LaSalle
    Goes to all the places a sensitive character study might have gone, but more dramatically, convincingly and vividly.
    • 71 Metascore
    • 75 Mick LaSalle
    This is a movie made by and for adults, and adults should consider seeing it.
    • 85 Metascore
    • 75 Mick LaSalle
    Audiences watch Summer Hours and then, a week later, remember it as though they've lived it.
    • 66 Metascore
    • 75 Mick LaSalle
    Few movies are as delightful as Julie & Julia.
    • 55 Metascore
    • 75 Mick LaSalle
    If you've ever wondered what it would be like to be there - to actually be there, man - this movie gets it.
    • 39 Metascore
    • 75 Mick LaSalle
    Much of the movie has a structureless, documentary feeling to it, which is good and should have been pushed further.
    • 70 Metascore
    • 75 Mick LaSalle
    If Public Enemies lacks anything, it's something audiences can't legitimately expect to find: a certain EXTRA something.
    • 55 Metascore
    • 75 Mick LaSalle
    Has all the usual virtues of a good action suspense drama, but it lacks that extra something - that context, that vital interchange - that made the original "The Taking of Pelham 1 2 3" such a memorable experience in 1974.
    • 34 Metascore
    • 75 Mick LaSalle
    Year One has one joke, but it's a good one, played for many variations over the course of an often very funny comedy.
    • 42 Metascore
    • 75 Mick LaSalle
    A two-hour nervous breakdown.
    • 58 Metascore
    • 75 Mick LaSalle
    Gets better as it goes along.
    • 84 Metascore
    • 75 Mick LaSalle
    It's a movie about a scrubwoman who paints - so don't expect lots of sex scenes or car chases. Just expect a great performance by Moreau, who will convince you that she painted every one of those paintings - and lived them all before she painted them.
    • 65 Metascore
    • 75 Mick LaSalle
    The movie is alive from beginning to end, and it's a pleasure to see at least one big-name director get out of the prison of his own reputation.

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