For 2,354 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 0.4 points higher than other critics. (0-100 point scale)

Mick LaSalle's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 The Theory of Everything
Lowest review score: 0 Cabin Boy
Score distribution:
2,354 movie reviews
    • 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.
    • 25 Metascore
    • 25 Mick LaSalle
    A funny comedy for about 90 seconds. Then Bette Midler goes off a cliff.
    • 76 Metascore
    • 25 Mick LaSalle
    Martha Marcy May Marlene is a strange case, a drama that's disturbing and yet inert. Writer-director Sean Durkin builds an atmosphere of dread, which means that he persuades us to believe in the characters and in the central situation. But he doesn't build interest.
    • 65 Metascore
    • 25 Mick LaSalle
    The film ends up landing in a confused middle category. It's neither a coherent, discrete work nor a zany tribute to the late actor.
    • 73 Metascore
    • 25 Mick LaSalle
    Here's a tiresome feature that could be made into a wonderful 20-minute film -- or, with a few adjustments, into two or three 10-minute shorts.
    • 24 Metascore
    • 25 Mick LaSalle
    In Godsend, we have the spectacle of three good actors tied to the mast of a sinking premise.
    • 46 Metascore
    • 25 Mick LaSalle
    [Hartley] changes the script enough so that the integrity of his experiment goes out the window. But he doesn't change enough so that the narrative can have any suspense.
    • 33 Metascore
    • 25 Mick LaSalle
    The bottom line here is that Cyrus is ghastly in The Last Song, bad not just in one or two ways, but in all kinds of ways.
    • 36 Metascore
    • 25 Mick LaSalle
    Runner Runner is less than mediocre, but it's not repellent, which means that to watch it is to root for it - and to be disappointed.
    • 59 Metascore
    • 25 Mick LaSalle
    It's dreadful, but it's a special kind of dreadful -- the kind designed to appeal to intelligent people on principle.
    • 57 Metascore
    • 25 Mick LaSalle
    Bram Stoker's Dracula is a lovingly made, gorgeously realized, meticulously crafted failure. It has big names, a big budget, big sets, a big, thundering score and even big hair. But it doesn't do it. It doesn't excite or fascinate but just lies there on the screen. [13 Nov 1992, p. C1]
    • San Francisco Chronicle
    • 39 Metascore
    • 25 Mick LaSalle
    The presence of Washington lends the picture a much-needed dose of authenticity. But in the end Virtuosity is disconnected and uninvolving, despite -- or maybe because of -- a climax that comes in three distinct waves. One section seems to be a half-hour sound-and-light show.
    • 72 Metascore
    • 25 Mick LaSalle
    Mean-spirited and not remotely clever, though it strives for archness at every turn.
    • 31 Metascore
    • 25 Mick LaSalle
    Unfortunately, the characters are so programmatic, the premise so ridiculous and the situations so far-fetched even if you accept that premise that no energy can be built, and the little that's there can't be sustained. Red Dawn is a vigorous but pointless exercise.
    • 40 Metascore
    • 25 Mick LaSalle
    Friedkin is steeped in gore, like some cinematic Macbeth, and it's obscuring his artistic vision.
    • 28 Metascore
    • 25 Mick LaSalle
    About as awful as a film can be without being the ultimate awful, which is boring.
    • 38 Metascore
    • 25 Mick LaSalle
    Ouija has something wrong with it from the first five minutes.
    • 42 Metascore
    • 25 Mick LaSalle
    An action blockbuster that's one of the biggest misfires in its genre since "Godzilla."
    • 65 Metascore
    • 25 Mick LaSalle
    Suffers from some of the deficiencies common to first features. It is sincere and earnest but the product of an assumption that the milieu itself is compelling enough to command an audience's attention.
    • 24 Metascore
    • 25 Mick LaSalle
    The Adventures of Ford Fairlane, is a stiff, guaranteed to disappoint just about everybody, except those rooting against him. [11 Jul 1990, p.E1]
    • San Francisco Chronicle
    • 58 Metascore
    • 25 Mick LaSalle
    The movie reveals itself as not merely dull, but pointless.
    • 65 Metascore
    • 25 Mick LaSalle
    Goes nowhere.
    • 26 Metascore
    • 25 Mick LaSalle
    Has to go down as a failed comedy. It's just not enough of a comedy.
    • 40 Metascore
    • 25 Mick LaSalle
    Credit the director for one thing. He could have stretched it to three hours, but he gets in and out of this mess in less than two.
    • 34 Metascore
    • 25 Mick LaSalle
    With most movies that fail, the fault can be ascribed to carelessness or lack or inspiration or cynicism. But Chelsea Walls, directed by actor Ethan Hawke, is clearly a labor of love.
    • 65 Metascore
    • 25 Mick LaSalle
    Coppola has no trouble convincing viewers that Marie Antoinette is an interesting historical subject, but there's a big distance between that and creating a fascinating personality or fashioning a compelling narrative.
    • 42 Metascore
    • 25 Mick LaSalle
    Heartfelt but interminable movie.
    • 64 Metascore
    • 25 Mick LaSalle
    Here Balasko, best known as a comedian, is particularly satisfying. But the reward is too small on the investment, and the film's resolution is downright irritating - not just a waste of time, but a waste of time with attitude.
    • 61 Metascore
    • 25 Mick LaSalle
    Worst of all, in promoting its hero's eccentric journey as a voyage of healing, the movie replaces emotional precision and intellectual honesty with syrupy sincerity and insistence. It turns boring and cute and begs us to love it.
    • 64 Metascore
    • 25 Mick LaSalle
    Only in the movie business could someone sell such shoddy merchandise and expect people to buy it. If The Hunger Games: Mockingjay — Part 1 were an appliance, it would be a broken toaster that people would toss in the garbage. Except that analogy is too kind, in that “Mockingjay” would be half a toaster.

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