For 2,541 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 lower than other critics. (0-100 point scale)

Mick LaSalle's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 For Colored Girls
Lowest review score: 0 Summer Catch
Score distribution:
2541 movie reviews
    • 54 Metascore
    • 0 Mick LaSalle
    Gerry is ragingly bad art that contributes to a definition of independent film as something no one would want to sit through.
    • 54 Metascore
    • 25 Mick LaSalle
    The Signal starts off as an alien version of "Blair Witch Project" and then drifts off into cold plotlessness. But for a while, a little while, it seems like it just might be interesting.
    • 53 Metascore
    • 25 Mick LaSalle
    Imagine the worst "Deadwood" episode ever, and you'll get an idea of the general tone of Beowulf & Grendel, which is full of anachronistic cursing, tortured syntax, dark humor and lots of hairy, homely, filthy-looking people.
    • 53 Metascore
    • 25 Mick LaSalle
    Every so often he inflicts something like Irrational Man on the world, which is so awful you have to wonder if Allen wrote it himself or farmed it out to some look-alike cousin out to destroy him.
    • 53 Metascore
    • 25 Mick LaSalle
    A handful of acting moments aside, Being Flynn is a drama without much in the way of rewards.
    • 53 Metascore
    • 25 Mick LaSalle
    RocknRolla attempts to depict a world of ever-expanding chaos. But the chaos is only in the way the story is told. The actual vision Ritchie offers is pedestrian and tame.
    • 53 Metascore
    • 25 Mick LaSalle
    Amateur gives the impression of a sloppy first draft. It begins with a splash, meanders until it reaches feature length, then ends abruptly.
    • 53 Metascore
    • 25 Mick LaSalle
    Franco Zeffirelli's Hamlet, a senselessly adapted, ill-conceived, poorly acted mess of a film that's guaranteed to frustrate anyone who loves the play and to put everybody else to sleep. [18 Jan 1991]
    • San Francisco Chronicle
    • 53 Metascore
    • 25 Mick LaSalle
    Everything about the idea of Mr. Popper's Penguins sounds lovely, and everything about the actual movie is ugly.
    • 53 Metascore
    • 25 Mick LaSalle
    In an attempt to be complex and fair-minded, a simple story becomes a jumble of confused motivations.
    • 53 Metascore
    • 25 Mick LaSalle
    Australia shows all the signs of having been a labor of love for director Baz Luhrmann. One problem: It's his love, and the audience's labor.
    • 53 Metascore
    • 25 Mick LaSalle
    The moments of action are interspersed with lengthy plot developments that are hard to follow.
    • 53 Metascore
    • 25 Mick LaSalle
    It's as if there's a barrier between the viewer and the story that never comes down.
    • 53 Metascore
    • 25 Mick LaSalle
    More than the usual bad or even numbingly horrible movie. It's an amalgam of many of the modern cinema's worst tendencies and modern filmmaking's most unfortunate misconceptions.
    • 53 Metascore
    • 25 Mick LaSalle
    Every single thing wrong with John Dies at the End might have been avoided had John died at the beginning, along with all the other characters, transforming an awful full-length movie into a harmless five-minute short.
    • 52 Metascore
    • 25 Mick LaSalle
    An utter debacle.
    • 52 Metascore
    • 0 Mick LaSalle
    Duller than first version.
    • 52 Metascore
    • 25 Mick LaSalle
    To watch Boulevard is to keep circling back, over and over, to the question: Was it merely an actor’s misguided inspiration, to take a repressed character and turn him into a grievously depressed one? Or was Williams simply unable to do it any other way?
    • 52 Metascore
    • 0 Mick LaSalle
    Quentin Tarantino and Robert Rodriguez had their fun with From Dusk Till Dawn, and now they need to stay away from each other. For their own good. Forever.
    • 52 Metascore
    • 25 Mick LaSalle
    Inside 10 minutes, at most 15, Be Kind Rewind reveals itself as an awful mess, and it only gets worse.
    • 52 Metascore
    • 0 Mick LaSalle
    Aside from being vile and repellent, it's mainly dull - old-fashioned in its shock tactics and culminating in a ho-hum climax.
    • 52 Metascore
    • 25 Mick LaSalle
    Safe House is an idea for a movie. It's a few blustery gestures in the direction of a story, with five good actors doing their best, trying to hold up the barest frame of an idea, while investing the surrounding emptiness with all the truth they can muster.
    • 52 Metascore
    • 25 Mick LaSalle
    Saint Laurent’s designs and working life take a backseat to scenes of him stuffing his face with pills, accidentally poisoning his dog and sleepwalking through sex with a variety of lovers. Two and a half hours of this. Bonello might as well have shown him sleeping eight hours or using the toilet for all that says about the man and his work.
    • 51 Metascore
    • 25 Mick LaSalle
    It's one of those self-consciously cute pictures, about as hard to take as a person who stands in front of a mirror and preens all day. [23 Mar 1990, Daily Datebook, p.E1]
    • San Francisco Chronicle
    • 51 Metascore
    • 25 Mick LaSalle
    Someone should steal this concept and make a decent movie out of it.
    • 51 Metascore
    • 25 Mick LaSalle
    It's the cinematic equivalent of an all-dessert meal: After the initial jolt, the lack of any real nourishment is apparent, and it becomes a struggle to stay awake.
    • 51 Metascore
    • 25 Mick LaSalle
    The comedy never really takes off because it's phony.
    • 51 Metascore
    • 25 Mick LaSalle
    The opening to John Carter is a dud, a battle between airships made of woven bamboo, bursting into computer-generated flame over a sandy terrain. There's nothing to see, nothing to think about, nothing to care about, and nothing to feel, just emptiness. The emptiness is never filled over the course of 132 long, barren minutes.
    • 51 Metascore
    • 25 Mick LaSalle
    Blackhat is pretty much nonsense, which Mann directs with such misplaced energy and with such little natural instinct for the material that, for most of the running time, the movie’s problems seem entirely his fault.
    • 51 Metascore
    • 0 Mick LaSalle
    That the movie becomes silly isn't necessarily a problem, but it also becomes tiresome, degenerating into a series of martial arts interludes -- everyone unaccountably leaves his guns at home.

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