For 2,614 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: 61
Highest review score: 100 The Merchant of Venice
Lowest review score: 0 Gerry
Score distribution:
2614 movie reviews
    • 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.
    • 100 Metascore
    • 100 Mick LaSalle
    A masterpiece.
    • 99 Metascore
    • 100 Mick LaSalle
    Every year, we get only a few of these, movies that come out of nowhere, that are different, unexpected and wonderfully right. Moonlight is that kind of movie, one of the gems of 2016.
    • 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.
    • 98 Metascore
    • 100 Mick LaSalle
    It turns out that Pepe Le Moko is even better than "Algiers."
    • 98 Metascore
    • 75 Mick LaSalle
    Though the movie clocks in at just under three hours, it is -- aside from an occasional slow spot -- fascinating and exciting.
    • 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.
    • 97 Metascore
    • 100 Mick LaSalle
    First, this movie should be enjoyed. Later, marveled at. And then, once the excitement has faded, 4 Months, 3 Weeks and 2 Days really should be studied, because director Cristian Mungiu creates scenes unlike any ever filmed.
    • San Francisco Chronicle
    • 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.
    • 96 Metascore
    • 75 Mick LaSalle
    Affleck is magnificent, but the movie is something less than that, because it can’t completely overcome some built-in challenges.
    • 96 Metascore
    • 100 Mick LaSalle
    See Gravity in theaters, because on television something will be lost. Alfonso Cuarón has made a rare film whose mood, soul and profundity is bound up with its images. To see such images diminished would be to see a lesser film, perhaps even a pointless one.
    • 96 Metascore
    • 100 Mick LaSalle
    An ungainly masterpiece, but Chaplin's ungainliness is something one can grow fond of.
    • 95 Metascore
    • 100 Mick LaSalle
    Haynes elicits two great performances and provides the perfect frame for them, not just in terms of setting, but through smart casting and attention to the smallest of performances.
    • 95 Metascore
    • 100 Mick LaSalle
    But make no mistake, whether the movie is fair or horribly unfair - I know nothing of the actual facts and can't make that determination - its portrait of Zuckerberg is a hatchet job of epic and perhaps lasting proportions.
    • 95 Metascore
    • 75 Mick LaSalle
    What keeps I Am Not Your Negro just short of greatness is, alas, the competition from Baldwin himself. Watching it, it’s hard not keep wanting to see more of Baldwin and hear less of Jackson.
    • 95 Metascore
    • 100 Mick LaSalle
    One of the most innovative and best made films of the past year. Every now and then, even Dick Cheney gets to like a great movie.
    • 95 Metascore
    • 75 Mick LaSalle
    In the moment, it's intermittently transcendent, heartrending and beautiful ... and busy, repetitious and boring.
    • 94 Metascore
    • 100 Mick LaSalle
    The latest in the wonderful "Before" series does three important things: It breaks out of the courtship formula, yet retains the series' quality, and it moves the lives of Celine (Julie Delpy) and Jesse (Ethan Hawke) forward in ways that are satisfying and believable. True, a romance you once envied might now be a relationship you'd not want to be in, but as long as Celine and Jesse are still talking, there's hope.
    • San Francisco Chronicle
    • 94 Metascore
    • 100 Mick LaSalle
    45 Years is very much an English film and in the best sense. It’s subtle, understated and ultimately devastating, but only if you’re paying attention.
    • 94 Metascore
    • 100 Mick LaSalle
    It’s one of the best war films ever made, distinct in its look, in its approach and in the effect it has on viewers. There are movies — they are rare — that lift you out of your present circumstances and immerse you so fully in another experience that you watch in a state of jaw-dropped awe. Dunkirk is that kind of movie.
    • 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.
    • 94 Metascore
    • 75 Mick LaSalle
    A worthy, fascinating film..
    • 94 Metascore
    • 100 Mick LaSalle
    This one enters the pantheon of great American war films.
    • 94 Metascore
    • 75 Mick LaSalle
    The not-as-good news is that, like “Wall-E” and “Up,” Inside Out has a great opening, a satisfying finish, and something of a sag in the middle. But this time it’s only a sag.
    • 94 Metascore
    • 100 Mick LaSalle
    There is no turning away from the screen.
    • 94 Metascore
    • 75 Mick LaSalle
    Though an estimable success overall, The Return of the King has several scenes too many and too great a concentration on battles.
    • 94 Metascore
    • 75 Mick LaSalle
    Amour is also unforgettable and one of a kind, two hours of torment that, in the end, you will probably not regret.
    • 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.
    • 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.
    • 93 Metascore
    • 100 Mick LaSalle
    Its deeply anarchic sensibility has kept Taxi Driver fresh all these years. (Review twenty years after release).
    • 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.
    • 93 Metascore
    • 50 Mick LaSalle
    Anderson almost brings off a picture worthy of his grandiose ambition.
    • 93 Metascore
    • 100 Mick LaSalle
    Perfect pitch.
    • 92 Metascore
    • 75 Mick LaSalle
    The Coens, with this film, are like people who fly all the way to Paris on vacation and then eat at McDonalds every night, because that's what they know. Why bother making the trip at all?
    • 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.
    • 92 Metascore
    • 75 Mick LaSalle
    This is the most realistic film about teaching that you're ever likely to see.
    • 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.
    • 92 Metascore
    • 100 Mick LaSalle
    Toy Story 3 is a better film than "Wall-E" and "Up" in that it succeeds completely in conventional terms. For 103 minutes, it never takes audience interest for granted. It has action, horror and vivid characters, and it always keeps moving forward.
    • 91 Metascore
    • 50 Mick LaSalle
    It's an endurance test. Though never boring, the movie is a fairly long slog through the snow.
    • 91 Metascore
    • 75 Mick LaSalle
    Spielberg's sledgehammer way with emotional moments, never more obvious than here, kills some of the pleasure for adults and robs the movie of the ultimate laurel -- classic status. [2002 re-release]
    • 91 Metascore
    • 75 Mick LaSalle
    Clearly a minor classic, mainly for reasons besides its crime story plot -- namely, the urbane fatalism of its cast and the overall mood of inevitability that hangs over every scene.
    • 91 Metascore
    • 100 Mick LaSalle
    An absolute delight, combining the cheap thrills of a biopic with the gentler, but more lasting, pleasures of a brilliant character study.
    • 91 Metascore
    • 100 Mick LaSalle
    Feels positively Greek in its magnitude, a lament about fate, age, time and life.
    • 91 Metascore
    • 75 Mick LaSalle
    Until this film, these Shin Bet directors had never consented to an interview. Now that they've spoken - and have said the unexpected - we can only wonder if their words will have an influence.
    • 90 Metascore
    • 75 Mick LaSalle
    It's a movie filled with surprises, including one outright kick in the head that qualifies as one of the biggest movie moments of 1992. [18 Dec 1992]
    • San Francisco Chronicle
    • 90 Metascore
    • 100 Mick LaSalle
    One of the best crime dramas to come along in years.
    • 90 Metascore
    • 50 Mick LaSalle
    Her
    The story is too slender for its two-hour running time, and the pace is lugubrious, as though everyone in front and behind the camera were depressed. But the biggest obstacle is the protagonist (Joaquin Phoenix), who is almost without definition.
    • 90 Metascore
    • 100 Mick LaSalle
    Magnificent but somewhat frustrating movie.
    • 90 Metascore
    • 75 Mick LaSalle
    If his two previous films suggested a director dipping a few toes in dark waters, Un Prophete marks the moment when Audiard took the plunge.
    • 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.
    • 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.
    • 90 Metascore
    • 50 Mick LaSalle
    Yet all this wit and effort and occasional beauty is in the service of a movie that is little more than a two-hour chase scene, one that seems founded on the assumption that if you show one set of people chasing another, that’s enough to get an audience excited: Oh, no, let’s hope they don’t get caught!
    • 90 Metascore
    • 100 Mick LaSalle
    American Hustle is David O. Russell's best film, one that finds him in that ideal zone of spontaneity and complete control.
    • 90 Metascore
    • 75 Mick LaSalle
    It's striking how much emotion Satrapi is able to convey through blocky drawings.
    • 89 Metascore
    • 100 Mick LaSalle
    So in-depth, so appealing, so easy to sit through and so anomalously grand scale that few who see it will ever forget it.
    • 89 Metascore
    • 100 Mick LaSalle
    A great film, the best I've seen since Terrence Malick's "The New World," and far and away the richest and most brilliantly acted picture to be released this Oscar season.
    • 89 Metascore
    • 100 Mick LaSalle
    It's screamingly, hysterically, laugh-through-the-next-joke, laugh-for-the-next-week funny. It's so inventive…This is a film by an original and significant comic intelligence.
    • 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.
    • 89 Metascore
    • 100 Mick LaSalle
    Almost too much to bear. But brace yourself and see it anyway. It’s worth it.
    • 89 Metascore
    • 50 Mick LaSalle
    It’s sincere and intelligent — but it’s weak as a social statement and even weaker as drama.
    • 89 Metascore
    • 100 Mick LaSalle
    The most coolheaded of the Iraq war documentaries, the most methodical and the least polemical. Yet it's the one that will leave audiences the most shattered, angry and astounded.
    • 89 Metascore
    • 75 Mick LaSalle
    This is a remarkable performance, remarkable not only in its force, but in its strength and precision. Oyelowo is reason alone to see Selma, and if you need another reason, there’s Carmen Ejogo, as a lovely, strong and haunted Coretta Scott King.
    • 89 Metascore
    • 100 Mick LaSalle
    In many ways - in all ways - The Artist is a profound achievement.
    • 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
    • 89 Metascore
    • 75 Mick LaSalle
    The thinking is shallow. The emotions are tepid. But the creativity is dazzling. If that sounds like a slam, consider that most Hollywood screenplays are predictable, rote and functional -- and those are the good ones, folks.
    • 89 Metascore
    • 75 Mick LaSalle
    An excellent film noir.
    • 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.
    • 88 Metascore
    • 100 Mick LaSalle
    A triumph that goes well beyond Hoffman's tour de force performance.
    • 88 Metascore
    • 75 Mick LaSalle
    The soundtrack, full of jazz standards, is an enjoyable feature, though in the context of the movie, audiences will mostly feel anxiety hearing them. The amount of work required to sound breezy and effortless is daunting.
    • 88 Metascore
    • 75 Mick LaSalle
    Hardly a riveting experience. It has slow patches, but it has a cumulative effect, thanks equally to Hansen-Love and Huppert. We come away feeling enriched and expanded, without exactly knowing how or why.
    • 88 Metascore
    • 100 Mick LaSalle
    That perception of Fiennes and Gustave is central to the whole enterprise. Without it, the movie just breaks off and flies away. But with it, The Grand Budapest Hotel becomes something wonderful.
    • 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.
    • 88 Metascore
    • 88 Mick LaSalle
    "Human Resources" was a good, straightforward tale, but Time Out is better. It's haunting. It's like a poem.
    • 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.
    • 88 Metascore
    • 75 Mick LaSalle
    An outstanding effort that maintains the integrity and purpose that distinguished "The Fellowship of the Ring."
    • 88 Metascore
    • 75 Mick LaSalle
    Up
    Has some great movie moments but also boring stretches.
    • 88 Metascore
    • 100 Mick LaSalle
    Anomalisa may simply be a brilliant one-off, but it’s pointing a new direction for animation, if anyone cares to follow it.
    • 88 Metascore
    • 100 Mick LaSalle
    This is a remarkable feat, not only of cinematography, but of choreography. Just to film Michael Keaton and Edward Norton walking down a Manhattan street, everything had to be timed as in a dance — when the camera swirls ahead, when it goes behind, when it swoops back around. It’s all accomplished so smoothly that it would be worth doing merely as a stunt, except this is no stunt. This method carries the mood and soul of one of the best movies of 2014.
    • 87 Metascore
    • 100 Mick LaSalle
    The magic of Brooklyn can’t be analyzed, but something in the richness of its relationships puts an essential truth before us — the brevity and immensity of life. We know all about that, of course, but that’s the beauty of great art: It takes what you already know and makes you feel it.
    • 87 Metascore
    • 75 Mick LaSalle
    It's a film of sensitivity, observation and humor - a must-see for Fellini enthusiasts and a worthwhile investment for everyone else.
    • 87 Metascore
    • 75 Mick LaSalle
    It is not a pleasure to sit through, not even remotely, not even by some stretched definition of the word “pleasure.” It’s work, but it’s ultimately rewarding work. It tackles some truths that other movies wouldn’t touch, not even with a stick and thick gloves.
    • 87 Metascore
    • 75 Mick LaSalle
    There's no music to tell you what to think. It's just three good actors and one director's merciless powers of observation.
    • 87 Metascore
    • 100 Mick LaSalle
    Masterful documentary.
    • 87 Metascore
    • 100 Mick LaSalle
    Carries a lot of emotional power.
    • 87 Metascore
    • 75 Mick LaSalle
    What it means in practice is that, with a Dardennes movie, nothing much seems to be going on - until everything seems to be going on. We watch events at a remove, and then, at a certain magical point, we are in the story, and we don't quite know how they did it - again.
    • 87 Metascore
    • 75 Mick LaSalle
    Love & Friendship looks splendid. If the costumes by Eimer Ni Mhaoldomhnaigh (“Cavalry”) were any more beautiful, they’d be too beautiful.
    • 87 Metascore
    • 75 Mick LaSalle
    Nanjiani is engaging throughout, though the scenes of his standup routine are a little confusing. He’s not funny, not even slightly. Is he supposed to be? That’s not clear.
    • 86 Metascore
    • 100 Mick LaSalle
    The experience of watching Daniel Day-Lewis in this role is nothing less than thrilling. This is Lincoln. No need for a time machine, there he is.
    • 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
    • 86 Metascore
    • 100 Mick LaSalle
    By the way, The Tillman Story has an R rating because of language. Think about that one, too: Lies are rated G and can be heard around the clock on television, but try saying the truth with the proper force and you end up with a restricted audience.
    • 86 Metascore
    • 50 Mick LaSalle
    In the end, the film shakes down as a kind of eat-your-spinach exercise, a movie that’s worthy and perhaps good for you, but is labored and only enjoyable intermittently.
    • 86 Metascore
    • 75 Mick LaSalle
    An authentic piece of Americana. There's no lying or condescending from this director. Nebraska feels pure.
    • 86 Metascore
    • 50 Mick LaSalle
    Doesn't hit its stride until the last 30 minutes, and by then, it's just a little too late.
    • 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.
    • 86 Metascore
    • 100 Mick LaSalle
    Ages well in memory because it gradually seems to mean more. Its meaning can't be summed up in a sentence, but it has to do with a view of life as inexpressibly sad and yet always right.
    • 86 Metascore
    • 100 Mick LaSalle
    With its dry, throwaway humor and constant stream of chuckles, it creates its own category of stealth comedy.
    • 86 Metascore
    • 75 Mick LaSalle
    What results isn’t a straight autobiography, obviously, but rather the autobiography of a career and, most importantly, the autobiography of a spirit.
    • 86 Metascore
    • 75 Mick LaSalle
    The movie is as interesting as spying on your neighbors during the most interesting 85 minutes of their lives.
    • 86 Metascore
    • 100 Mick LaSalle
    Like her (Cholodenko) other movies, this one has vivid characters and strong performances and flows like a slice of life set in an appealing, interesting world. But this one also has a good story and, if you're paying attention, a distinct point of view.
    • 86 Metascore
    • 75 Mick LaSalle
    This is a beautiful film, full of gray-and white-haired men who grow in stature before our eyes.

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