For 2,330 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 0.7 points higher than other critics. (0-100 point scale)

Mick LaSalle's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Queen and Country
Lowest review score: 0 License to Wed
Score distribution:
2,330 movie reviews
    • 42 Metascore
    • 25 Mick LaSalle
    Holes in the script, overwrought camera work, dialogue that's embarrassing, and a plot device that's obvious 10 minutes into the movie - all these are major problems.
    • 40 Metascore
    • 25 Mick LaSalle
    Maybe there's a metaphor here, but figuring it out wouldn't make Trouble Every Day any better.
    • 50 Metascore
    • 25 Mick LaSalle
    Has no narrative throughline, no emotional spine. It's a mess.
    • 36 Metascore
    • 25 Mick LaSalle
    Two awful things about Push are at least interesting: The first is the way in which the story is confused. The second is that the story makes no sense.
    • 27 Metascore
    • 25 Mick LaSalle
    It's as close to nothing as anything could be while still being something.
    • 29 Metascore
    • 25 Mick LaSalle
    A romantic comedy and an adventure story, but in this case that just means it bombs in two distinct ways.
    • 27 Metascore
    • 25 Mick LaSalle
    There's just the matter of facing it: that The Perfect Man is just something slapped together -- by people who don't care, for an audience they figure will care even less.
    • 75 Metascore
    • 25 Mick LaSalle
    This is not one of the good Altmans. This isn't even one of the mediocre Altmans.
    • 27 Metascore
    • 25 Mick LaSalle
    The overall premise, involving mental illness and suicide, isn't all that funny, at least not in practice, and the picture begins to seem labored and long.
    • 61 Metascore
    • 25 Mick LaSalle
    The Bourne series ended with the last installment, and now comes a 135-minute death rattle called The Bourne Legacy. It's a peculiar movie, both over-plotted and under-plotted, encumbered by layers of detail and yet with no details invested in or developed.
    • 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.
    • 36 Metascore
    • 25 Mick LaSalle
    Has a vacant, inept, why-oh-why feeling from its opening minutes and only gets worse.
    • 66 Metascore
    • 25 Mick LaSalle
    There's not a single moment here in which Nixon is admirable, decisive or appealing. Nixon doesn't work as a drama, but with a little push it might have been a great comedy.
    • 67 Metascore
    • 25 Mick LaSalle
    The action comes so fast and furious in Furious 7 that, for all the explosions and overturned cars and missiles fired on downtown Los Angeles, it becomes a dull muddle. Here and there, we get the imaginative and outrageous stunts this series is famous for, but mostly the movie plods along, muscling through without much life or spirit.
    • 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.
    • 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.
    • 48 Metascore
    • 25 Mick LaSalle
    How many doubts can Lee possibly cram into one motion picture? Red Hook Summer has almost too many to count: moments that go clunk, followed by others that go clang; actors who talk as if reading their lines off cue cards or rehearsing them for the first time; and set pieces that lie there.
    • 70 Metascore
    • 25 Mick LaSalle
    The picture, which marks the debut of Mexican film maker Guillermo del Toro, is a dull hybrid - a ponderous art film crossed with a vampire story. [06 May 1994]
    • San Francisco Chronicle
    • 32 Metascore
    • 25 Mick LaSalle
    It's a romantic comedy with insights into sex and relationships that are old and obvious.
    • 31 Metascore
    • 25 Mick LaSalle
    Jack is a warm, heartfelt disaster that shows that life is fleeting but movies can be very long indeed.
    • 45 Metascore
    • 25 Mick LaSalle
    Hesher is about as awful as independent films get, a mix of ugliness and unearned sentiment, with a flat story, repellent and pathetic characters and dialogue that consists of lots of stammering and cursing.
    • 35 Metascore
    • 25 Mick LaSalle
    110 minutes of Euro silliness mitigated only by the presence of Huppert and the striking ability of the actors to keep a straight face throughout this mess.
    • 56 Metascore
    • 25 Mick LaSalle
    The picture, for all its slickness and style, is empty, empty-headed and emotionally false… [It] has no more depth than "Pretty Woman" and occupies the same moral landscape. [5 Apr 1991, Daily Datebook, p.E11]
    • San Francisco Chronicle
    • 37 Metascore
    • 25 Mick LaSalle
    Ugly, gore-strewn and, ultimately, ridiculous.
    • 44 Metascore
    • 25 Mick LaSalle
    A repellent, stupid film.
    • 34 Metascore
    • 25 Mick LaSalle
    It's a gorefest, a borefest and a snorefest.
    • 46 Metascore
    • 25 Mick LaSalle
    Has that title going for it, which might annoy or provoke you. It makes me suspicious. It's the kind of flashy, meaningless title that's usually given to drab, pointless films.
    • 67 Metascore
    • 25 Mick LaSalle
    There's a lot of bad hair and incoherent, drug-addled remarks, but inside a minute we get the joke, and it isn't much.
    • 48 Metascore
    • 25 Mick LaSalle
    Unfortunately, Sucka falls apart after the first half-hour. The action sequences are confusing and senseless. The setups for the action scenes are long and pointless. You know where the movie is heading, and there are no surprises along the way. It's one joke, over and over. [17 Feb 1989, p.E7]
    • San Francisco Chronicle
    • 41 Metascore
    • 25 Mick LaSalle
    Another dreadful, not-funny Owen Wilson movie, in which Wilson is the best thing.

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