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 The Girlfriend Experience
Lowest review score: 0 Bones
Score distribution:
2507 movie reviews
    • 72 Metascore
    • 50 Mick LaSalle
    Heartfelt but somewhat bloated documentary that's partly an homage and partly a literary mystery.
    • 72 Metascore
    • 50 Mick LaSalle
    Maybe this mixed-up and weird, awful but awfully likable movie is what Dirty Harry had coming to him, after all.
    • 72 Metascore
    • 50 Mick LaSalle
    The movie consistently delivers in lots of little ways, but in a big way only once, in a spectacular sequence that begins with a series of earthquakes and culminates in an airline catastrophe.
    • 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.
    • 72 Metascore
    • 50 Mick LaSalle
    If ultimately Slow West seems more like a filmmaking exercise than an engaging piece of work — despite Fassbender’s star presence — that’s all right. Filmmakers need to get their exercise. Let’s see what Maclean does next.
    • 72 Metascore
    • 50 Mick LaSalle
    When compared with the ambition and achievement of recent animated films, such as "Coraline" and "Toy Story 3," Despicable Me hardly seems to have been worth making, and it's barely worth watching.
    • 72 Metascore
    • 50 Mick LaSalle
    12
    No matter how bad things get, you can always be thankful for this: You're not on trial for murder in Russia.
    • 71 Metascore
    • 50 Mick LaSalle
    Taken as a motion picture, the new "Harry" comes up short. But taken as a visual aid to the experience of reading a book, the new "Harry" does its job.
    • 71 Metascore
    • 50 Mick LaSalle
    It's a modest and mildly funny effort, with good scenes and touches of incisive satire, but it's not quite funny enough, and it's undermined by its camera technique.
    • 71 Metascore
    • 50 Mick LaSalle
    Married to the Mob picks up pace throughout and builds to an exciting finish. [19 Aug 1988]
    • San Francisco Chronicle
    • 71 Metascore
    • 50 Mick LaSalle
    An adaptation not firing on all cylinders.
    • 71 Metascore
    • 50 Mick LaSalle
    The most daring thing that Jonze and Eggers have done is make a children's film that might not really be for kids.
    • 71 Metascore
    • 50 Mick LaSalle
    There's a dignity about it, and it's only later that we come to realize that this dignity is misplaced, born of a fatal reserve and a lack of complete investment.
    • 71 Metascore
    • 50 Mick LaSalle
    Summer fluff that admits to being summer fluff, but it's no better off for admitting it...Intended as lightweight comedy, but if you think about it too much, it's not so funny.
    • 71 Metascore
    • 50 Mick LaSalle
    This is all good movie material, so far as it goes ... but Get on Up can't go any further. Sometimes damaged people stay damaged, and sometimes popular artists make their contribution and then stay in one place forever. It's a big letdown for everybody, but in a biopic, it's poison.
    • 70 Metascore
    • 50 Mick LaSalle
    It commits the only crime that can be committed against Shakespeare: It makes him boring.
    • 70 Metascore
    • 50 Mick LaSalle
    Joachim Trier is a Norwegian filmmaker who made a strong debut in 2011, with his film, “Oslo, August 31.” Louder Than Bombs is his first English-language effort, and it’s disappointing.
    • 70 Metascore
    • 50 Mick LaSalle
    Most viewers will have no more fun watching this story than the characters do living it.
    • 70 Metascore
    • 50 Mick LaSalle
    A hit-and-miss affair, or, to be more precise, a miss (story one), hit (story two) and break even (story three) affair.
    • 70 Metascore
    • 50 Mick LaSalle
    An intelligent movie that portrays the mighty without reverence.
    • 70 Metascore
    • 50 Mick LaSalle
    Has the usual overlong running time, the half-hearted feints in the direction of human feeling and the obligatory action sequences that are big without being either exciting or particularly legible.
    • 70 Metascore
    • 50 Mick LaSalle
    Young Benny has a nice smile, and she and Jack seem like pleasant people, but in the end (and in the beginning and in the middle) it's hard to get worked up about them.
    • 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.
    • 69 Metascore
    • 50 Mick LaSalle
    It's a film of unquestioned visual artistry, and the filmmakers' empathy and human understanding are apparent moment to moment, scene by scene. But despite sensitive performances, it's an experiment that fizzles.
    • 69 Metascore
    • 50 Mick LaSalle
    Long before the finish, Man From Reno has flat-lined.
    • 69 Metascore
    • 50 Mick LaSalle
    In terms of story and emotional power, Brave comes up short.
    • 69 Metascore
    • 50 Mick LaSalle
    In the end, Crash lacks a cumulative impact. It takes audiences to new places, but we've all been to similar places, and we walk out knowing no more than we did walking in.
    • 69 Metascore
    • 50 Mick LaSalle
    Nothing in the story feels specific to that California city, or emblematic of it.
    • 69 Metascore
    • 50 Mick LaSalle
    If the movie has a weakness, it’s that Zohar gets the most screen time, though she’s the least engaging character.
    • 69 Metascore
    • 50 Mick LaSalle
    So what's wrong with Joshua? Two things: The audience is ahead of the movie, and the movie never catches up.

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