For 2,507 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 0.6 points lower than other critics. (0-100 point scale)

Mick LaSalle's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Brooklyn
Lowest review score: 0 Swept Away
Score distribution:
2507 movie reviews
    • 60 Metascore
    • 25 Mick LaSalle
    It's a bomb - not the usual bomb, but a time bomb, despite a 20-minute stretch at the beginning that goes along nicely. [17 May 1991]
    • San Francisco Chronicle
    • 60 Metascore
    • 25 Mick LaSalle
    You can’t make a raunchy comedy and a sentimental paean to motherhood at the same time. You have to choose either one or the other. Raunchiness or sincerity. Try to do both, and you end up with a flailing, unfunny wreck, like the mix of contradictory and self-defeating impulses that we find here.
    • 59 Metascore
    • 25 Mick LaSalle
    It’s a preening piece of work, aiming to flatter and please, while masquerading as something hard-hitting and daring. And because of all that, it’s a bore.
    • 59 Metascore
    • 25 Mick LaSalle
    "Spider-Man 2" was a textbook example of how to make a sequel: Deepen it, make it funnier, give it more heart and come up with a strong villain and a good story. Spider Man 3, by contrast, shows how not to make a sequel.
    • 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.
    • 59 Metascore
    • 25 Mick LaSalle
    It turns out to be just as bad as any routine French romantic comedy - illogical, inconsistent and sloppily written, a charmless, tasteless, witless waste of time.
    • 59 Metascore
    • 25 Mick LaSalle
    Promised to be the season's thoughtful action picture, turns out to have few thoughts and no thrills.
    • 59 Metascore
    • 25 Mick LaSalle
    Convoluted.
    • 59 Metascore
    • 25 Mick LaSalle
    A whimsical but flat-footed attempt to account for several lost months in the life of Jean-Baptiste Poquelin, known to the world as Molière.
    • 59 Metascore
    • 25 Mick LaSalle
    It's the worst kind of convoluted thriller -- it can never unravel satisfactorily because there's nothing simple at its center, just more confusion.
    • 59 Metascore
    • 25 Mick LaSalle
    The real problem with This Is 40 is its lack of truth, that Apatow wanted to express something about married life, and it eluded him. After all, no less than Kierkegaard once said that the actual dynamics of marriage are beyond the scope of art, and he was the best movie critic of the 19th century.
    • 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.
    • 58 Metascore
    • 25 Mick LaSalle
    The character motivations are weak, and the story is poorly structured. But its camera work, possibly intended to distract audiences from the movie’s flaws, only compounds its problems. It distances the audience and makes Jason Bourne a chore to sit through.
    • 58 Metascore
    • 25 Mick LaSalle
    A disappointment, a precious and grotesque exercise reminiscent of Jean-Pierre Jeunet's "Delicatessen," only less amusing.
    • 58 Metascore
    • 25 Mick LaSalle
    The movie reveals itself as not merely dull, but pointless.
    • 58 Metascore
    • 25 Mick LaSalle
    With Hard Candy, the innocent are tortured along with the guilty -- the innocent, in this case, being the audience.
    • 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.
    • 58 Metascore
    • 25 Mick LaSalle
    A noble attempt that doesn't hang together.
    • 58 Metascore
    • 0 Mick LaSalle
    Desperately unfunny action comedy.
    • 58 Metascore
    • 25 Mick LaSalle
    A long-winded indulgence in tear-and-a-smile whimsy, elevated above the merely irritating and saccharine by compelling art direction.
    • 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.
    • 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
    • 57 Metascore
    • 25 Mick LaSalle
    Owen is a magnetic, sensitive presence at the center of a movie that doesn't deserve him and that barely deserves to be seen.
    • 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.
    • 57 Metascore
    • 25 Mick LaSalle
    Wexler gets tired of his own movie near the end of it. The viewer will get tired in 15 minutes.
    • 57 Metascore
    • 25 Mick LaSalle
    This remake of the 1981 horror classic starts well, but it soon degenerates into tiresome shock gore that overstays its welcome, despite the film's modest run time. Jane Levy as a heroin addict going through withdrawal is the one bright spot.
    • San Francisco Chronicle
    • 57 Metascore
    • 25 Mick LaSalle
    Suffers from a problem in its rhythm. It's not that its pace is too slow, but that it's too regular, and this lack of syncopation makes it feel slow.
    • 57 Metascore
    • 25 Mick LaSalle
    Witless banter might have won Ginger Rogers for Fred Astaire, but Thompson is too smart for that.
    • 56 Metascore
    • 25 Mick LaSalle
    This isn't pleasant to watch. Neither is it amusing, intellectually engaging, whimsically fascinating, coldly satirical or painfully poignant, though at any given moment in this erratic film director Tom Tykwer might be trying for one of these conflicting tones.
    • 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

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