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
    • 42 Metascore
    • 50 Mick LaSalle
    Sanctum is by no means a badly made movie, but it has the feel of one of those dramatic re-enactments made exclusively for Imax theaters.
    • 65 Metascore
    • 50 Mick LaSalle
    The film is mired in gloom, not just sadness, but heaviness.
    • 42 Metascore
    • 50 Mick LaSalle
    Emotionally false.
    • 57 Metascore
    • 50 Mick LaSalle
    Falls victim to a fatal lack of narrative drive, suspense and drama. Kidman and Hopkins are wrong for their roles, and that, combined with a pervading inevitability, cuts the film off from any sustained vitality. The result is something admirable but lifeless.
    • 66 Metascore
    • 50 Mick LaSalle
    A smirky cleverness infects much of the picture, yet some scenes are so skillfully created that it's hard not to admire them, and Dominique Pinon's sensitive performance as a retired circus man gives the movie a soul. [10 Apr 1992]
    • San Francisco Chronicle
    • 46 Metascore
    • 50 Mick LaSalle
    The movie is ridiculous.
    • 42 Metascore
    • 50 Mick LaSalle
    Insurgent would be a much worse movie if the good parts were all at the beginning. But they are saved for the end, and they leave the viewer with a feeling of, “Well, that was OK,” even though most of it wasn’t.
    • 33 Metascore
    • 50 Mick LaSalle
    It's not bad. It's cute.
    • 42 Metascore
    • 50 Mick LaSalle
    Succeeds in its modest way because its stars, Melissa Joan Hart and Adrian Grenier, are pleasant to be around.
    • 40 Metascore
    • 50 Mick LaSalle
    Josh Brolin plays the leader of the gangster squad as a kind of dedicated dunce, which is appropriate considering their clumsy antics. Ryan Gosling has more nuance as his right-hand man, but Emma Stone is completely out of her element as a slinky film noir heroine, a walking anachronism.
    • 32 Metascore
    • 50 Mick LaSalle
    There's a good idea behind Repo Men, not a whole lot of thinking, but at least one whole idea.
    • 72 Metascore
    • 50 Mick LaSalle
    At first, The Oath looks as though it will be a study of the soul-corroding effects of twisted ideology, but it emerges as the reverse.
    • 52 Metascore
    • 50 Mick LaSalle
    The comedy is hit and miss, with good bits interrupted by dead patches. It's a movie to root for more than to enjoy.
    • 49 Metascore
    • 50 Mick LaSalle
    Yet all this work, all this skill, serve as little more than an elaborate setting for a rhinestone. At its core there is no passion, no sincerity of conception, nothing that might have made The Quick and the Dead into anything more than moment-to-moment stimulation. You get lots of clothes here, but no emperor. Or rather, no empress.
    • 64 Metascore
    • 50 Mick LaSalle
    More emphasis on these darker, subterranean elements might have made for a fuller experience, but Infinitely Polar Bear is really all about a father as seen from a child’s perspective. It’s better than a scrapbook item, as in a film made to be appreciated by one family. But it’s not quite a successful movie.
    • 47 Metascore
    • 50 Mick LaSalle
    The result is a film that will probably please people already fascinated by Behan but leave everyone else yawning with admiration.
    • 51 Metascore
    • 50 Mick LaSalle
    Director Doug Hamilton was given extraordinary access from the very beginning, so that we see Green Day composer and lead singer Billie Joe Armstrong having some of his initial meetings with Broadway director Michael Mayer, who conceived the show.
    • 77 Metascore
    • 50 Mick LaSalle
    The movie's pleasures are acting pleasures, but the movie doesn't compel attention and never seems like more than the frame for a performance.
    • 56 Metascore
    • 50 Mick LaSalle
    The film never settles into an assured rhythm, and instead the actors always seem to be pushing, putting the hard sell on an audience that, however distracted by the strenuousness of the sales pitch, still isn't buying.
    • 49 Metascore
    • 50 Mick LaSalle
    Though it's only 72 minutes, by the time it's over, you'll be ready for it to end. Still, as a glimpse of the Arab world right before the Arab Spring, this documentary may be of some lasting interest.
    • 60 Metascore
    • 50 Mick LaSalle
    Sober and dispiriting, tense and morose.
    • 69 Metascore
    • 50 Mick LaSalle
    The movie's strength is that it makes us want to know more about Levitch, and we pay attention as the tidbits are dropped -- that he's from a middle-class Jewish family in upstate New York, and that he did time in prison. The movie's flaw is that, having gained our attention, it fails to tell us what we want to know.
    • 41 Metascore
    • 50 Mick LaSalle
    A caper comedy with some definite problems.
    • 37 Metascore
    • 50 Mick LaSalle
    Baywatch should have been a lot more fun.
    • 79 Metascore
    • 50 Mick LaSalle
    I Am Love casts no spell and creates no narrative urgency. It's as compelling as mildly interesting gossip about people you don't know.
    • 59 Metascore
    • 50 Mick LaSalle
    A self-conscious attempt at the brass ring.
    • 57 Metascore
    • 50 Mick LaSalle
    Monotonous.
    • 39 Metascore
    • 50 Mick LaSalle
    Holds a lot of promise in its first hour and never completely falls apart, but it's ultimately not the movie it might have been.
    • 62 Metascore
    • 50 Mick LaSalle
    It’s original and idiosyncratic, but Swicord lets herself get away with things another director might not have allowed.
    • 53 Metascore
    • 50 Mick LaSalle
    The only problem with The Better Angels is that it’s not nimble enough to vary its strategy or to find ways for the character of young Abe (Braydon Denney) to grow over the course of the movie.

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