For 2,131 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 1.2 points higher than other critics. (0-100 point scale)

Mick LaSalle's Scores

  • Movies
Average review score: 60
Highest review score: 100 Rat Race
Lowest review score: 0 Are We There Yet?
Score distribution:
2,131 movie reviews
    • 100 Metascore
    • 100 Mick LaSalle
    A masterpiece.
    • 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
    • 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.
    • 97 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
    • 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
    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
    • 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.
    • 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.
    • 94 Metascore
    • 75 Mick LaSalle
    A fine picture because it can still, without fail, make an entire audience of children shut up and fall in love with a little green alien with big eyes and a turtlelike body.
    • 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
    In the moment, it's intermittently transcendent, heartrending and beautiful ... and busy, repetitious and boring.
    • 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
    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
    • 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
    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
    • 50 Mick LaSalle
    Anderson almost brings off a picture worthy of his grandiose ambition.
    • 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
    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]
    • 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
    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
    • 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
    • 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
    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
    • 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]
    • 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
    • 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
    • 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
    • 75 Mick LaSalle
    Up
    Has some great movie moments but also boring stretches.
    • 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
    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.
    • 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]
    • 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
    • 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
    • 75 Mick LaSalle
    More than the standard, cranked-out genre piece. Its characters linger in your mind, and the quality of its actors lift the movie into another league. [14 April 1989]
    • 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
    • 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
    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.
    • 86 Metascore
    • 75 Mick LaSalle
    A lively experience.
    • 86 Metascore
    • 75 Mick LaSalle
    This is Almodovar's stab at serious drama, and the result is bizarre and affecting but also unsettling in ways that the filmmaker may not have intended.
    • 86 Metascore
    • 50 Mick LaSalle
    If it were just a middling effort, The Master would be a lot less frustrating. But the latest from writer-director Paul Thomas Anderson has greatness in it - two extraordinary performances, intuitive and revealing photography and scene setting, and a distinct directorial sensibility that hovers between sobriety and satire. Yet all those virtues are undermined by a narrative that goes all but dead for the last hour.
    • 86 Metascore
    • 75 Mick LaSalle
    Shrewd, highly controlled little film from Belgium that builds to an unexpected emotional climax.
    • 86 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.
    • 85 Metascore
    • 75 Mick LaSalle
    A thoughtful, satisfying action thriller.
    • 85 Metascore
    • 100 Mick LaSalle
    One of the great Holocaust films.
    • 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
    The experience of seeing this film is cumulative, sober and profound.
    • 85 Metascore
    • 75 Mick LaSalle
    The right mix of humor and horror and with not even a shred of sentimentality.
    • 85 Metascore
    • 100 Mick LaSalle
    A remarkable documentary about an almost unfathomable ordeal.
    • 85 Metascore
    • 75 Mick LaSalle
    Knocked Up has some rough edges, but it's a noteworthy film by a significant and blossoming talent.
    • 85 Metascore
    • 75 Mick LaSalle
    Hornby's humane and humorous screenplay is true to the film's title: In short order, young Jenny finds out important truths about identity, glamour and how adults really think and live.
    • 85 Metascore
    • 75 Mick LaSalle
    What this uncaring man is doing to her (Ida), he's about to do to a nation of 50 million people. And all of them will hate themselves in the morning.
    • 85 Metascore
    • 100 Mick LaSalle
    A seriously good movie, a challenge to viewers, a rebuke of the way many Americans live their lives.
    • 85 Metascore
    • 100 Mick LaSalle
    Directed with playful wit and energy, with steamy sex scenes played as much for laughs as anything else.
    • 85 Metascore
    • 50 Mick LaSalle
    Take Shelter has a problem, the simplest of all problems but no less serious for its being simple. It's a film without suspense and with a slow-moving story that unfolds without surprise or embellishment.
    • 85 Metascore
    • 75 Mick LaSalle
    The movie is modest in its ambition and powerful in its reverberations.
    • 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.
    • 85 Metascore
    • 100 Mick LaSalle
    An unforgettable examination of a host of dark impulses.
    • 85 Metascore
    • 100 Mick LaSalle
    [Soderbergh] plays with time and narrative to reveal character, mood and longing in ways you just don't find in a mainstream crime picture.
    • 85 Metascore
    • 75 Mick LaSalle
    Watching the film one comes away feeling the bond that links these guys.
    • 85 Metascore
    • 100 Mick LaSalle
    At times trying and perplexing, but it also contains some of the most psychologically insightful and ecstatic filmmaking imaginable.
    • 85 Metascore
    • 100 Mick LaSalle
    An exquisite and powerful documentary -- one whose elegance only heightens its devastating impact.
    • 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.
    • 84 Metascore
    • 100 Mick LaSalle
    This is human drama at its most intense and universal. This is the rare film that can change the way you think and see the world.