For 2,201 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 0.9 points higher than other critics. (0-100 point scale)

Mick LaSalle's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Third Person
Lowest review score: 0 Faster
Score distribution:
2,201 movie reviews
    • 55 Metascore
    • 25 Mick LaSalle
    It's a complete mess, the spectacle of filmmakers blowing up their movie and everything in it, because they can't think of anything else to do.
    • 61 Metascore
    • 25 Mick LaSalle
    The To Do List is a romantic comedy with no romance and little comedy, but with an ugliness of spirit that's surprising and unrelenting.
    • 28 Metascore
    • 25 Mick LaSalle
    That was probably writer-director Roman Coppola's main responsibility in "Charles Swan," to give the audience a character worth watching. Get that right, and everything else falls into place. Get that wrong, and the audience finds out just how long 84 minutes can be. The answer: really long.
    • 53 Metascore
    • 25 Mick LaSalle
    Every single thing wrong with John Dies at the End might have been avoided had John died at the beginning, along with all the other characters, transforming an awful full-length movie into a harmless five-minute short.
    • 48 Metascore
    • 25 Mick LaSalle
    It's possible there has never been anything like it. It contains memorable dialogue, vivid characters and several superb scenes, and yet it still manages to be wrong, a complete miscalculation.
    • 60 Metascore
    • 25 Mick LaSalle
    There's only so much Soderbergh can do. Gray's Anatomy is made up mainly of Gray, and there's a whole lot of Gray going on. The story is unremarkable. Gray's observations, pedestrian.
    • 58 Metascore
    • 25 Mick LaSalle
    August: Osage County was a three-hour play that felt like two hours. It has been made into a two-hour movie that feels like a month.
    • 37 Metascore
    • 25 Mick LaSalle
    Ugly, gore-strewn and, ultimately, ridiculous.
    • 39 Metascore
    • 25 Mick LaSalle
    If you think of Pompeii as a ride, a conveyance for special effects, and not anything resembling an emotional experience, indifference can almost be a good thing.
    • 31 Metascore
    • 25 Mick LaSalle
    Badly made and poorly written, Blended is a rehash of Adam Sandler's 2011 comedy "Just Go With It," only without Jennifer Aniston and without laughs. It not only gets the big things wrong. It gets the small, easy things wrong.
    • 63 Metascore
    • 25 Mick LaSalle
    It shambles and ambles, seemingly without focus or pattern, from one thing to the next. Yet at the same time, it's predictable, not from moment to moment, but in its outlines.
    • 39 Metascore
    • 25 Mick LaSalle
    As a first-time director, Falcone has trouble maintaining a specific tone - the movie wobbles back and forth between sentimentality and silliness, sometimes even within the same scene.
    • 64 Metascore
    • 25 Mick LaSalle
    Consists of long stretches of boredom, banal dialogue and contorted metaphors, interrupted by flashes of ugliness. See it if you want to be put off of sex for a month - longer if you're older, and perhaps for years if you're very young.
    • 66 Metascore
    • 25 Mick LaSalle
    The Dutch thriller Borgman gets credit for being original, but not for being original in a compelling way.
    • 77 Metascore
    • 25 Mick LaSalle
    Only Lovers Left Alive is simply dead, an exercise in style, bland humor and vague gesture that yet seems to have been made in the naive expectation of a conventional response - that is, of an audience's actually caring.
    • 35 Metascore
    • 25 Mick LaSalle
    Really, The Expendables 3 has only one thing going for it, beyond the unremarkable novelty of seeing lots of celebrities in a lousy movie. It has Mel Gibson, who is at his grim, tormented and quirky best here, playing someone who has crossed a moral line and has no regrets.
    • 41 Metascore
    • 25 Mick LaSalle
    Rarely do two lines go by without Fellowes changing something, always for the worse.
    • 56 Metascore
    • 25 Mick LaSalle
    It's a tepid, quiet and uneventful film, directed almost in slow motion, with no narrative propulsion and with a succession of very similar scenes. The actors speak softly and pause a lot. And in the background is the steady hum of the soundtrack.
    • 57 Metascore
    • 25 Mick LaSalle
    Drama is as much about perspective as it is about events, and the angle provided by How I Live Now turns out to be self-defeating.
    • 61 Metascore
    • 25 Mick LaSalle
    As good as The Motel Life is for the actors, that's how bad it is for the viewer.
    • 60 Metascore
    • 25 Mick LaSalle
    There are phony movies made every week, but this is in a different category - a phony movie that seems a distortion of something real, a phony movie offered in place of the real movie von Trier could have made, but it would have cost him something. Some blood, some truth, some soul. What we're left with instead is an empty gesture.
    • 75 Metascore
    • 25 Mick LaSalle
    Film anybody's trip to Italy, and it would be more interesting than this, or at least equally boring.
    • 55 Metascore
    • 25 Mick LaSalle
    Hellion is so sincere and so dull that some might mistake it for a true work of art.
    • 40 Metascore
    • 25 Mick LaSalle
    Faced with a story that doesn't make much sense, the filmmakers switch gears and try for a sociological statement - something about the marginalized and the neglected. This makes for a funny last five minutes, but sad, too, because Walker was better than this, even if his movies sometimes weren't.
    • 53 Metascore
    • 25 Mick LaSalle
    It's as if there's a barrier between the viewer and the story that never comes down.
    • 53 Metascore
    • 25 Mick LaSalle
    The Signal starts off as an alien version of "Blair Witch Project" and then drifts off into cold plotlessness. But for a while, a little while, it seems like it just might be interesting.
    • 48 Metascore
    • 25 Mick LaSalle
    Gradually, FX2 ties itself into a knot it can't undo even with the most desperate of measures. Everything is left hanging, and by the end the plotting is so clumsy it's embarrassing. [10 May 1991, p.E3]
    • San Francisco Chronicle
    • 56 Metascore
    • 12 Mick LaSalle
    The best thing in the movie is Peter MacNicol as Dana's boss at the museum, a slippery character with an incomprehensible accent. [16 Jun 1989, p. E1]
    • San Francisco Chronicle
    • 29 Metascore
    • 0 Mick LaSalle
    Take a wretched premise. Imagine the worst picture that could be made from it. Then imagine something even worse. That's Alien vs. Predator.
    • 27 Metascore
    • 0 Mick LaSalle
    Four screenwriters are credited with this sloppy piece of work. Divide the embarrassment into quarters.