For 2,221 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 0.9 points higher than other critics. (0-100 point scale)

Mick LaSalle's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Superbad
Lowest review score: 0 Spy Hard
Score distribution:
2,221 movie reviews
    • 85 Metascore
    • 75 Mick LaSalle
    Hornby's humane and humorous screenplay is true to the film's title: In short order, young Jenny finds out important truths about identity, glamour and how adults really think and live.
    • 85 Metascore
    • 75 Mick LaSalle
    What this uncaring man is doing to her (Ida), he's about to do to a nation of 50 million people. And all of them will hate themselves in the morning.
    • 85 Metascore
    • 100 Mick LaSalle
    A seriously good movie, a challenge to viewers, a rebuke of the way many Americans live their lives.
    • 85 Metascore
    • 100 Mick LaSalle
    Directed with playful wit and energy, with steamy sex scenes played as much for laughs as anything else.
    • 85 Metascore
    • 50 Mick LaSalle
    Take Shelter has a problem, the simplest of all problems but no less serious for its being simple. It's a film without suspense and with a slow-moving story that unfolds without surprise or embellishment.
    • 85 Metascore
    • 100 Mick LaSalle
    The Past makes conventional movies feel artificial. Watching the characters interact in this movie feels like "Here is real life," and real life just happens to be strangely compelling.
    • 85 Metascore
    • 100 Mick LaSalle
    An unforgettable examination of a host of dark impulses.
    • 85 Metascore
    • 100 Mick LaSalle
    [Soderbergh] plays with time and narrative to reveal character, mood and longing in ways you just don't find in a mainstream crime picture.
    • 85 Metascore
    • 75 Mick LaSalle
    Watching the film one comes away feeling the bond that links these guys.
    • 85 Metascore
    • 100 Mick LaSalle
    At times trying and perplexing, but it also contains some of the most psychologically insightful and ecstatic filmmaking imaginable.
    • 85 Metascore
    • 75 Mick LaSalle
    The movie is modest in its ambition and powerful in its reverberations.
    • 85 Metascore
    • 100 Mick LaSalle
    An exquisite and powerful documentary -- one whose elegance only heightens its devastating impact.
    • 85 Metascore
    • 100 Mick LaSalle
    A documentary with the emotional power of the very best in narrative film. It has characters impossible to forget, moments impossible to shake and an ending that leaves the audience both moved and rattled.
    • 84 Metascore
    • 100 Mick LaSalle
    This is human drama at its most intense and universal. This is the rare film that can change the way you think and see the world.
    • 84 Metascore
    • 75 Mick LaSalle
    You will look in vain for some definite logic to Holy Motors. You could see it as a metaphor for the actor's life, or a story about the desire to transcend the self. Anything you decide is fine.
    • 84 Metascore
    • 75 Mick LaSalle
    With Desplechin, it doesn't ever feel as though he's straining to show us things. It's more like we're just hanging out. We're in this house, and by some strange coincidence, every time we turn around, something interesting is happening.
    • 84 Metascore
    • 100 Mick LaSalle
    An extraordinary film, mythic in feeling.
    • 84 Metascore
    • 100 Mick LaSalle
    Stuns with writing, acting, direction.
    • 84 Metascore
    • 75 Mick LaSalle
    It's a movie about a scrubwoman who paints - so don't expect lots of sex scenes or car chases. Just expect a great performance by Moreau, who will convince you that she painted every one of those paintings - and lived them all before she painted them.
    • 84 Metascore
    • 75 Mick LaSalle
    Taken as a whole, these films constitute one of the greatest uses of cinema a documentary filmmaker has ever devised. Like the other films in the series, 49 Up is alternately touching and mundane, part soap opera, part reality show and part anthropological study.
    • 84 Metascore
    • 100 Mick LaSalle
    With Milk, a great San Francisco story becomes a great American story.
    • 84 Metascore
    • 100 Mick LaSalle
    The film is exciting in two big ways: its simplicity of story (Tanovic does not get bogged down trying to give us an epic history) and the breadth of Tanovic's vision.
    • 84 Metascore
    • 75 Mick LaSalle
    If it's ultimately a failure -- and I think it is -- it's still worth seeing, because it's the most ambitious and magnificent failure in recent memory. That, in a sense, qualifies it as a certain kind of "good movie."
    • 84 Metascore
    • 75 Mick LaSalle
    Audiences watch Summer Hours and then, a week later, remember it as though they've lived it.
    • 84 Metascore
    • 75 Mick LaSalle
    The impressive thing that Oslo, August 31st does is that it somehow relates what Anders is going through to the city of Oslo in general. Anders is not a metaphor for Oslo - that would be cheap and silly. Rather, he is just one more story in the naked city, and we see him against the backdrop of other people, having quite different lives.
    • 84 Metascore
    • 75 Mick LaSalle
    The casting is carefully considered, as well, from Willis, whose Old Joe is even more dangerous than Young Joe, to Emily Blunt, who goes American this time and plays a young mother with a winning warmth and vulnerability.
    • 84 Metascore
    • 75 Mick LaSalle
    As innocent as a Disney movie -- and a lot more entertaining.
    • 84 Metascore
    • 75 Mick LaSalle
    Pacino and Crowe are at their best, but the supporting cast also shines.
    • 84 Metascore
    • 75 Mick LaSalle
    The movie itself is a worthy thing, too, but it's not as good as Clooney is here, which is to say, it's not great.
    • 84 Metascore
    • 100 Mick LaSalle
    Its virtues are velocity, energy, innovative storytelling - and something that seems even more the province of young directors: a certain heartlessness and ironic distance in the tone.