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 Waking the Dead
Lowest review score: 0 License to Wed
Score distribution:
2638 movie reviews
    • 32 Metascore
    • 25 Mick LaSalle
    Nothing but a showcase for the inherent comedic gifts of Cameron Diaz. The problem is she doesn't have any.
    • 37 Metascore
    • 25 Mick LaSalle
    What we have in this film is a whole lot of nothing, and the little that's there is irritating.
    • 34 Metascore
    • 25 Mick LaSalle
    Another inert, soul-dead action drama that turns actors into zombies...It's garbage.
    • 45 Metascore
    • 25 Mick LaSalle
    Lucas Black, who looks as much like a high school kid as George Bernard Shaw, speaks in a thick Southern accent that hasn't been heard on any leading man since the second act of "Our American Cousin."
    • 53 Metascore
    • 25 Mick LaSalle
    The moments of action are interspersed with lengthy plot developments that are hard to follow.
    • 32 Metascore
    • 25 Mick LaSalle
    Saint John of Las Vegas was a bad script that somehow got made into a bad movie with good people in it.
    • 49 Metascore
    • 25 Mick LaSalle
    Behind Enemy Lines has a wretched script and a director (first-timer John Moore) who either has no taste or doesn't know what he's doing.
    • 66 Metascore
    • 25 Mick LaSalle
    Results are all that matter, and the result here is that The Desolation of Smaug fails in almost every way, as a story, as an adventure, as a piece of art direction and as a visual spectacle.
    • 58 Metascore
    • 25 Mick LaSalle
    With Hard Candy, the innocent are tortured along with the guilty -- the innocent, in this case, being the audience.
    • 21 Metascore
    • 25 Mick LaSalle
    While the plot is worthless and the battle scenes cheap-looking and unengrossing, Wing Commander has clearly defined characters and relationships. In other words, the film's young actors have nothing interesting to say, but they say it well.
    • 58 Metascore
    • 25 Mick LaSalle
    Going into Sisters, the thought is, “It’s Tina Fey and Amy Poehler. How bad can it be?” Going out, the thought is, “Now we know.” It can be downright awful.
    • 42 Metascore
    • 25 Mick LaSalle
    At 100 minutes, it feels about 80 minutes too long, and that’s not a good sign. Lazer Team might have made a fun and pleasant short.
    • 68 Metascore
    • 25 Mick LaSalle
    Its story meanders and doesn't build, and the pace is deadly.
    • San Francisco Chronicle
    • 40 Metascore
    • 25 Mick LaSalle
    They take on special powers that the filmmakers are incapable of making interesting, partly because the characters are ciphers, and partly because the story is listless and uninventive.
    • 46 Metascore
    • 25 Mick LaSalle
    The film doesn't make a case for Lavoe as an important artist.
    • 51 Metascore
    • 25 Mick LaSalle
    The comedy never really takes off because it's phony.
    • 37 Metascore
    • 25 Mick LaSalle
    A limp, slow-moving and desperately unfunny comedy.
    • 50 Metascore
    • 25 Mick LaSalle
    It takes a winning recipe and adds some distinctly Hollywood flavors...The result is a botched job.
    • 43 Metascore
    • 25 Mick LaSalle
    It's unpleasant where it should be pleasant, convoluted where it should be streamlined, anxiety provoking where it should be easy, and long, long, long - at least 20 minutes longer than it has a right to be.
    • 64 Metascore
    • 25 Mick LaSalle
    With The Way, writer-director Emilio Estevez has made a respectable failure. What's respectable - and undeniable - is that this is a sincere effort to make a film of sensitivity and spiritual richness.
    • 44 Metascore
    • 25 Mick LaSalle
    This is a half-hearted, derivative action film with not a single honest artistic impulse behind it.
    • 60 Metascore
    • 25 Mick LaSalle
    This sequel goes beyond disappointment into a sublime realm of embarrassment that's beyond and yet better than merely bad, because it fascinates: What on Earth were they thinking?
    • 67 Metascore
    • 25 Mick LaSalle
    A ghastly sequel to a charming animated film.
    • 67 Metascore
    • 25 Mick LaSalle
    Trust never lives up to its snappy opening. Everything is tongue-in-cheek here - yet it's never remotely clear what the point is or what's getting satirized. [16 Aug 1991]
    • San Francisco Chronicle
    • 45 Metascore
    • 25 Mick LaSalle
    Shanley tries to make something courageous and symbolic out of the notion of jumping into a volcano, but his philosophizing is sentimental, heavy-handed and forced. The idea of doing something reckless and adventurous even becomes a bit depressing when it dawns on you that Shanley may have been taking his own advice with this movie, for less than glorious results. [9 Mar 1990, p.E3]
    • San Francisco Chronicle
    • 48 Metascore
    • 25 Mick LaSalle
    It's off in many directions - false in its details, false in its relationships, false in its emotions - but probably the first and worst thing that needs to be said about it is that it's also overlong and dull.
    • 42 Metascore
    • 25 Mick LaSalle
    The narrative is clumsy, and the monster scenes are ridiculous, but not ridiculous enough to be funny, just ridiculous enough to be boring.
    • 58 Metascore
    • 25 Mick LaSalle
    If you loved the earlier films, these are moments you will hold on to, but they're very few, and they're not enough.
    • 35 Metascore
    • 25 Mick LaSalle
    It's astonishing what little impact even the most imaginatively choreographed and well-filmed aerial escapades can have when they're presented as neither an expression of a character's personality, nor in the context of a compelling mission.
    • 30 Metascore
    • 25 Mick LaSalle
    It's a plodding, episodic film, reverent and sanctimonious, and its pro-Southern viewpoint -- a time-honored Hollywood tendency -- makes "Gone With the Wind" look like a Northern polemic.

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