For 2,130 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 1.1 points higher than other critics. (0-100 point scale)

Mick LaSalle's Scores

  • Movies
Average review score: 60
Highest review score: 100 Bread and Tulips
Lowest review score: 0 Jawbreaker
Score distribution:
2,130 movie reviews
    • 40 Metascore
    • 25 Mick LaSalle
    Butter is a misfire. At 90 minutes it feels inflated, and though clearly intended as funny, it's difficult to locate, except in the most general terms, the focus of the movie's satire, and there's not a laugh to be had.
    • 40 Metascore
    • 75 Mick LaSalle
    I liked this movie, maybe more than I should have, and would be happy to see anything this director wants to do next.
    • 40 Metascore
    • 25 Mick LaSalle
    Credit the director for one thing. He could have stretched it to three hours, but he gets in and out of this mess in less than two.
    • 39 Metascore
    • 75 Mick LaSalle
    Angel Eyes is the rare film that presents a family dynamic as demented as ones we know from life.
    • 39 Metascore
    • 75 Mick LaSalle
    Much of the movie has a structureless, documentary feeling to it, which is good and should have been pushed further.
    • 39 Metascore
    • 50 Mick LaSalle
    Feels forgettable, even though, in the moment, it's often very funny.
    • 39 Metascore
    • 25 Mick LaSalle
    There's nothing here but a concept and a marketing and merchandising strategy, at the center of which somebody - oh, no - had to come up with an actual movie.
    • 39 Metascore
    • 25 Mick LaSalle
    This is strictly formula stuff, made worse by an utterly careless depiction of the characters.
    • 39 Metascore
    • 50 Mick LaSalle
    The action is difficult to follow.
    • 39 Metascore
    • 50 Mick LaSalle
    It has no ambition, little sense and false sentiment, but it does have velocity, high spirits and scale.
    • 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.
    • 39 Metascore
    • 75 Mick LaSalle
    Man of the Year remains an interesting proposition throughout, and a tale well told.
    • 39 Metascore
    • 50 Mick LaSalle
    A clever, atmospheric romantic drama that lacks something.
    • 39 Metascore
    • 25 Mick LaSalle
    The presence of Washington lends the picture a much-needed dose of authenticity. But in the end Virtuosity is disconnected and uninvolving, despite -- or maybe because of -- a climax that comes in three distinct waves. One section seems to be a half-hour sound-and-light show.
    • 39 Metascore
    • 25 Mick LaSalle
    Dreary movie.
    • 39 Metascore
    • 75 Mick LaSalle
    This is one light comedy whose seriousness, hours later, lingers in the mind.
    • 39 Metascore
    • 50 Mick LaSalle
    An exceptionally good movie in its first hour and an exceptionally bad one in its second.
    • 39 Metascore
    • 25 Mick LaSalle
    Stone tries to make us like Alexander because he's good, when he should have made us want to watch Alexander because he's amazing.
    • 39 Metascore
    • 0 Mick LaSalle
    Truly awful.
    • 39 Metascore
    • 50 Mick LaSalle
    Homefront has craft and humor behind it, but not much in the way of inspiration. Think of a dessert with lots of calories and no nutrition.
    • 39 Metascore
    • 50 Mick LaSalle
    Stays emotionally mired because of a static screenplay that fails to express its issues dramatically.
    • 38 Metascore
    • 75 Mick LaSalle
    The phrase "lesbian comedy" is not exactly an oxymoron, but April's Shower is still a rarity, an expansive, talky and often zany romantic farce, with lesbian characters at its center.
    • 38 Metascore
    • 25 Mick LaSalle
    Just about everything in The Chronicles of Riddick is impenetrable, from the convoluted story to the dark and baroque art direction. It's an inane film rendered sometimes laughable by an atmosphere of dead-serious reverence.
    • 38 Metascore
    • 25 Mick LaSalle
    Nora Ephron directed it and had a hand in the screenplay, but without Travolta this film would have no reason for being.
    • 38 Metascore
    • 75 Mick LaSalle
    A gangster movie with the capacity to surprise. People do unexpected things and for reasons we wouldn't anticipate.
    • 38 Metascore
    • 50 Mick LaSalle
    Just too much of a mediocre thing. It didn't have to be that way.
    • 38 Metascore
    • 100 Mick LaSalle
    Emotionally sophisticated, humane and worth talking about for hours.
    • 38 Metascore
    • 50 Mick LaSalle
    Radio is almost as bad as it gets. That it isn't is thanks to Ed Harris, who brings depth and focus to his performance.
    • 38 Metascore
    • 0 Mick LaSalle
    Inert, incompetent and emotionally fraudulent.
    • 38 Metascore
    • 75 Mick LaSalle
    A small and not particularly ambitious movie, but it's pleasing and exceptionally well made. It was directed by Stephen Frears, and while it's not up there with his best - "Dangerous Liaisons," "The Queen," "High Fidelity," "Cheri" - Lay the Favorite lavishes the same attention on the personal, on relationships, and, like most Frears films, it puts a woman at the center of the story.
    • 38 Metascore
    • 75 Mick LaSalle
    Scrooged doesn't pack the wallop of "A Christmas Carol" - you won't cry or walk out resolving to become a better person - but it's a funny and imaginative high-class effort. Best of all, it stars Bill Murray, who has only to raise an eyebrow to get laughs. [23 Nov 1988, p.E1]
    • 38 Metascore
    • 75 Mick LaSalle
    The best of Jackie Chan's American movies, a pleasant little action comedy that makes one wonder how other filmmakers could ever get it wrong.
    • 38 Metascore
    • 75 Mick LaSalle
    The spectacle is nothing short of refreshing.
    • 38 Metascore
    • 0 Mick LaSalle
    A graceless, embarrassing effort.
    • 38 Metascore
    • 25 Mick LaSalle
    A mess.
    • 37 Metascore
    • 25 Mick LaSalle
    This is a story that should have been, at the absolute most, 20 minutes long.
    • 37 Metascore
    • 75 Mick LaSalle
    One of the smartest action thrillers to come along in the past few years. It's also one of the freshest.
    • 37 Metascore
    • 50 Mick LaSalle
    The film's basic material, that is the history, is not without interest. And it must be admitted that every so often - for about 10 seconds every 10 minutes - we get a hint of the movie they wanted to make and hoped they were making: One about the thrill of early aviation and the promise of a young century.
    • 37 Metascore
    • 50 Mick LaSalle
    A strange movie, in that it has the atmosphere of a comedy and some extreme characters set up to be comical, but there are really no funny scenes.
    • 37 Metascore
    • 25 Mick LaSalle
    What we have in this film is a whole lot of nothing, and the little that's there is irritating.
    • 37 Metascore
    • 50 Mick LaSalle
    Trespass never advances beyond being a grand manipulation.
    • 37 Metascore
    • 50 Mick LaSalle
    A formulaic, predictable and yet reasonably likable picture.
    • 37 Metascore
    • 25 Mick LaSalle
    So desperate and silly that here and there, it's a lot of fun.
    • 37 Metascore
    • 50 Mick LaSalle
    Considering what the filmmakers had to work with, and the fact that it has all been done before, Freddy Vs. Jason isn't bad. And sometimes not bad is almost good.
    • 37 Metascore
    • 75 Mick LaSalle
    It's instantly forgettable, but smooth fun most of the way.
    • 37 Metascore
    • 50 Mick LaSalle
    Gimme Shelter is an attempt at something grand, and though it doesn't get halfway there, it covers some ground.
    • 37 Metascore
    • 25 Mick LaSalle
    There are all kinds of bad movies in the world, but it's really only stardom that can create the exact variety of cinematic abortion we find in The Tourist.
    • 37 Metascore
    • 0 Mick LaSalle
    How bad does it get? How far past the basement can one elevator go?
    • 37 Metascore
    • 50 Mick LaSalle
    This is a movie in which whole sequences consist of nothing but guys fighting stiff computer images. Such scenes would be boring even were they done well, but these scenes aren't done well.
    • 37 Metascore
    • 0 Mick LaSalle
    It represents 2 1/2 of the longest hours on record, a jumbled botch that is so confused in its purpose and so charmless in its effect that it must be seen to be believed, but better yet, no. Don't see it, don't believe it, not unless a case of restless leg syndrome sounds like a fun time at the movies.
    • 37 Metascore
    • 25 Mick LaSalle
    A limp, slow-moving and desperately unfunny comedy.
    • 37 Metascore
    • 75 Mick LaSalle
    Sometimes excessiveness and implausibility are virtues in disguise. Movies this enjoyable don't come about by accident.
    • 37 Metascore
    • 75 Mick LaSalle
    A delicate film - not flimsy, but fragile - that holds together on the strength of Efron's physical presence and performance.
    • 37 Metascore
    • 25 Mick LaSalle
    The first and most honest thing to say about Miracle at St. Anna is that it's an awful mess.
    • 37 Metascore
    • 50 Mick LaSalle
    It's fast, snappy and entertaining in a superficial way. But it lacks gravity and authenticity and seems more like a product than an attempt to tell a story.
    • 37 Metascore
    • 75 Mick LaSalle
    It's scary. It's well-acted. It's filmed with a degree of flash and elegance.
    • 37 Metascore
    • 25 Mick LaSalle
    A sour romantic comedy that arrives in theaters just in time to spoil Valentine's Day. Its plot is a catalog of unpleasantness. Its characters are repellent.
    • 37 Metascore
    • 25 Mick LaSalle
    It's just horsing around that comes to nothing. No, it's worse. It's horsing around designed to disguise nothing as something.
    • 37 Metascore
    • 25 Mick LaSalle
    It's a big disappointment.
    • 37 Metascore
    • 25 Mick LaSalle
    Has many grotesque sex scenes, interspersed with sights of Chong rambling in a dissociated way as she sits in her squalid apartment.
    • 37 Metascore
    • 0 Mick LaSalle
    It is a colossal bomb, an epic miscalculation, an excuse for actor self-indulgence and for what sounds very much like bad improvisation.
    • 37 Metascore
    • 25 Mick LaSalle
    There's no point complaining that Honey is a tired reworking of an old formula, because it's intended for a young audience that doesn't know the formula.
    • 37 Metascore
    • 75 Mick LaSalle
    The battle in Battle: Los Angeles is grab-the-armrest tense until the last seconds.
    • 37 Metascore
    • 50 Mick LaSalle
    Caught in the Web is of little interest as entertainment, and if it were set in an unimportant or overly familiar country, it would be entirely forgettable.
    • 37 Metascore
    • 25 Mick LaSalle
    Ugly, gore-strewn and, ultimately, ridiculous.
    • 37 Metascore
    • 25 Mick LaSalle
    The movie's most inexcusable failing is that, despite all the flashbacks, we never get a sense of what this relationship was like when it worked.
    • 37 Metascore
    • 50 Mick LaSalle
    Crush is that strange mixed bag -- an otherwise wretched movie in which an actress gets to do some of her best work.
    • 37 Metascore
    • 75 Mick LaSalle
    One could argue about which "Lethal Weapon'' is the best, but No. 4 is certainly the funniest, warmest and most idiosyncratic.
    • 37 Metascore
    • 50 Mick LaSalle
    If this action extravaganza represents the future of movies, it's going to be a sad, dead and awful future.
    • 37 Metascore
    • 25 Mick LaSalle
    Whatever else W.E. may be (lousy, a waste of time, tin-eared, sleep-inducing, occasionally laughable, etc.), it's sincere and ambitious.
    • 36 Metascore
    • 75 Mick LaSalle
    A spiritual successor to "The Pursuit of Happyness," but darker and more oblique.
    • 36 Metascore
    • 75 Mick LaSalle
    Perry is at his best playing frenetic confusion.
    • 36 Metascore
    • 0 Mick LaSalle
    One of the downsides of living in a free society is that every so often someone like Myles Berkowitz gets hold of a camera.
    • 36 Metascore
    • 50 Mick LaSalle
    Even without surprises, or drama, or clever dialogue, or even a single scene of any merit, Rebound goes along pleasantly.
    • 36 Metascore
    • 25 Mick LaSalle
    It's hard to sit all the way through Aeon Flux while fully awake.
    • 36 Metascore
    • 50 Mick LaSalle
    The movie lacks joy. It has poignancy and intelligence, and it holds interest, but it never opens up into happiness and fantasy. Maybe it's the recession.
    • 36 Metascore
    • 50 Mick LaSalle
    By the end, everything that was initially serious about the film becomes silly and everything appealing about it turns sour.
    • 36 Metascore
    • 50 Mick LaSalle
    Would be a completely routine horror movie, except that it has a superior director. Watch this film for five minutes, and it's clear that Victor Salva knows how to make movies.
    • 36 Metascore
    • 50 Mick LaSalle
    Just another bloody cop thriller.
    • 36 Metascore
    • 75 Mick LaSalle
    A nonstop action picture with a fair amount of laughs, car chases and exploding buildings. [15 May 1992]
    • 36 Metascore
    • 0 Mick LaSalle
    The Collection is bloody, disgusting and ridiculous, but the one thing it's not is horror, not real horror, not in the sense of tense or scary. It's not cinema, either. It's not even fun.
    • 36 Metascore
    • 50 Mick LaSalle
    If anyone wants to watch naked men in the shower, naked men doing erotic dancing, naked men in bed and almost-naked men pumping iron, this is the film to see.
    • 36 Metascore
    • 50 Mick LaSalle
    The result is a children's movie that's almost worth seeing even when not accompanied by a child. It's certainly a painless experience, and at times it's quite funny.
    • 36 Metascore
    • 50 Mick LaSalle
    A stupid movie -- but a deliriously stupid movie, which gives it a certain grandeur.
    • 36 Metascore
    • 75 Mick LaSalle
    Playful and energized enough to keep an audience guessing.
    • 36 Metascore
    • 75 Mick LaSalle
    One of the most quietly powerful endings in recent memory.
    • 36 Metascore
    • 50 Mick LaSalle
    The problem is the script, which, in scene after scene, contains no surprises.
    • 36 Metascore
    • 50 Mick LaSalle
    It's made by a director who knows comedy, working from a script founded on a surefire slapstick premise.
    • 36 Metascore
    • 25 Mick LaSalle
    Morgan Freeman's voice is heard as the narrator, which is in itself the stuff of parody. Then we listen and get lost within two sentences, because the narration is so poorly written that Freeman himself probably didn't know what he was talking about.
    • 36 Metascore
    • 50 Mick LaSalle
    Has the strengths and weaknesses of a one-man show.
    • 36 Metascore
    • 50 Mick LaSalle
    The reversion to formula takes a pleasing comedy and drops it down a notch, but That Awkward Moment is still very easy to like.
    • 36 Metascore
    • 50 Mick LaSalle
    It's a respectable B- movie -- airy, inconsequential and a little too cute at times, but fairly entertaining all the same.
    • 36 Metascore
    • 25 Mick LaSalle
    Runner Runner is less than mediocre, but it's not repellent, which means that to watch it is to root for it - and to be disappointed.
    • 36 Metascore
    • 25 Mick LaSalle
    Has a vacant, inept, why-oh-why feeling from its opening minutes and only gets worse.
    • 36 Metascore
    • 25 Mick LaSalle
    As far as formulaic, empty and disappointing comedies go, The Watch is far from the worst. About every seven or eight minutes, perhaps a dozen times over the course of the picture, the movie generates a medium-size laugh. Not a big laugh.
    • 36 Metascore
    • 25 Mick LaSalle
    These people are so stupid that they make us think, well, wait a second: Maybe those livers and kidneys could be put to better use.
    • 36 Metascore
    • 25 Mick LaSalle
    Serious Moonlight is a tonal disaster, distasteful and sentimental by turns. It was probably a mistake to have Hines try to walk that same delicate line that took Shelly her entire career to master.
    • 36 Metascore
    • 50 Mick LaSalle
    Goodwin radiates probity and makes waiting almost look interesting, and so, for all the movie's awkwardness, it remains watchable.
    • 36 Metascore
    • 63 Mick LaSalle
    Despite its faults Rambo III has an undeniable momentum and, judged on its own terms, a certain comic-book appeal. [26 May 1988, p.E1]
    • 36 Metascore
    • 50 Mick LaSalle
    It would be a mildly lovely thing to be able to say the movie isn't bad. But it is.
    • 36 Metascore
    • 25 Mick LaSalle
    Two awful things about Push are at least interesting: The first is the way in which the story is confused. The second is that the story makes no sense.
    • 35 Metascore
    • 25 Mick LaSalle
    A stink bomb of a movie.
    • 35 Metascore
    • 25 Mick LaSalle
    Williamson's script, which he also directed, is spiteful and shallow.
    • 35 Metascore
    • 25 Mick LaSalle
    It's astonishing what little impact even the most imaginatively choreographed and well-filmed aerial escapades can have when they're presented as neither an expression of a character's personality, nor in the context of a compelling mission.
    • 35 Metascore
    • 50 Mick LaSalle
    If the writing and direction carry Sphere most of the way, the actors manage to bring it home.
    • 35 Metascore
    • 25 Mick LaSalle
    If For Greater Glory were a person, it would be wearing two different socks. It is a scattered mess, as earnest as a folk song, but like a folk song that goes on for two hours and 23 minutes. Not only does it never justify its epic length, it gets even the small things wrong.
    • 35 Metascore
    • 50 Mick LaSalle
    The movie has that fatal triptych that is becoming Reiner's romantic-comedy signature: drippy sentiment, zany scenes that trivialize the characters and a horror of adventure.
    • 35 Metascore
    • 25 Mick LaSalle
    A thriller without thrills. It's also a thriller that cheats. The story is stretched to feature length only by having the film's incidents arranged in such a way as to reveal as little as possible.
    • 35 Metascore
    • 0 Mick LaSalle
    With Lake at the center, something that could have been innocuous becomes painful, and a sure shot at mediocrity is transformed into one of the worst films of the year.
    • 35 Metascore
    • 50 Mick LaSalle
    The story is unbelievable and phenomenally silly, not a good combination.
    • 35 Metascore
    • 25 Mick LaSalle
    110 minutes of Euro silliness mitigated only by the presence of Huppert and the striking ability of the actors to keep a straight face throughout this mess.
    • 35 Metascore
    • 25 Mick LaSalle
    So you get comments from the likes of Paul Rudd, Adam Carolla and Judd Apatow, all trying to be funny, but not one says anything remotely amusing or worth hearing.
    • 35 Metascore
    • 0 Mick LaSalle
    Sommers film just lies there, weighted down by a complete lack of wit, artfulness and internal logic. So it's a disaster -- a big, loud, boring wreck.
    • 35 Metascore
    • 25 Mick LaSalle
    Identity Thief is not only not funny. It's negative funny. It's short on laughs, but it will disturb and annoy.
    • 35 Metascore
    • 50 Mick LaSalle
    uUninspired, unnecessary and formulaic.
    • 35 Metascore
    • 50 Mick LaSalle
    A premise so rock-solid, so guaranteed to please, that it almost doesn't matter that the movie is otherwise a routine slasher, and not a particularly scary one.
    • 35 Metascore
    • 25 Mick LaSalle
    Could hardly be called a success -- it's rather a likable disaster.
    • 35 Metascore
    • 50 Mick LaSalle
    So any "Nightmare" movie has a built-in handicap going in, but the better ones find ways to compensate, by casting appealing young actors (they're always young), by having imaginative dream sequences and - most important of all - by keeping the dreams short. By that standard, this new "Nightmare" is a fairly decent effort.
    • 35 Metascore
    • 75 Mick LaSalle
    In every kids' picture, there are going to be sections that only kids will enjoy. Fortunately, 102 Dalmatians has enough for the adults, too.
    • 35 Metascore
    • 25 Mick LaSalle
    A dull film with unsympathetic characters brought together by a gimmicky premise that's handled with no imagination and a pristine fraudulence of emotion. Aside from that, it's great.
    • 35 Metascore
    • 0 Mick LaSalle
    She's hopeless, he's hopeless, and this movie is just ghastly.
    • 35 Metascore
    • 25 Mick LaSalle
    Take the worst things about independent movies - the wallowing in an unpleasantness, the narrative unsteadiness, the next-to-no story. Then combine those with a hefty dose of light comedy. The result: the big, fat tonal mess that is Happy Tears, a charmless film about two sisters who come together to care for their demented father.
    • 35 Metascore
    • 75 Mick LaSalle
    This is a cute movie, a kid's movie, and a rather good one.
    • 35 Metascore
    • 50 Mick LaSalle
    It's a gallant battle against flawed material, and Hirschbiegel fights it to a draw.
    • 34 Metascore
    • 75 Mick LaSalle
    It's funny, easily the funniest and least self-conscious movie that director Nora Ephron has made.
    • 34 Metascore
    • 25 Mick LaSalle
    For all it does right, there's something seriously wrong.
    • 34 Metascore
    • 50 Mick LaSalle
    Has some laughs - more than a few thanks to Michael Douglas as a dead swinger (the movie's Jacob Marley) - and some moments of tenderness, too.
    • 34 Metascore
    • 50 Mick LaSalle
    It is a boilerplate action comedy.
    • 34 Metascore
    • 50 Mick LaSalle
    The movie has some clumsy dialogue and awkward turns, but the picture is brisk and likable.
    • 34 Metascore
    • 50 Mick LaSalle
    It's an entertaining movie, which is half the game, but it's not scary, which it should be. Neither is it something to be taken seriously, though it's intended to be.
    • 34 Metascore
    • 75 Mick LaSalle
    The picture is more impressive as it goes along, revealing a symmetry of construction underneath the rudiments of a thriller.
    • 34 Metascore
    • 75 Mick LaSalle
    Year One has one joke, but it's a good one, played for many variations over the course of an often very funny comedy.
    • 34 Metascore
    • 75 Mick LaSalle
    Instead of concealing it, I'll just come out and say that I find it difficult to be enthusiastic about this well-acted and gracefully directed movie, but for reasons that might be called philosophical.
    • 34 Metascore
    • 25 Mick LaSalle
    It's a gorefest, a borefest and a snorefest.
    • 34 Metascore
    • 25 Mick LaSalle
    With most movies that fail, the fault can be ascribed to carelessness or lack or inspiration or cynicism. But Chelsea Walls, directed by actor Ethan Hawke, is clearly a labor of love.
    • 34 Metascore
    • 50 Mick LaSalle
    Just not worth revisiting, unless one wants to tie one's brain into a knot for no discernible reward.
    • 34 Metascore
    • 50 Mick LaSalle
    Excess Baggage falls down as a showcase for Silverstone, who made a big splash in "Clueless" and whose production company is releasing this film. She comes across as unappealing and unseasoned in ways that go beyond the role.
    • 34 Metascore
    • 25 Mick LaSalle
    Almost every moment has flashes and explosions and a pulsing, relentless soundtrack. It's like being trapped inside a video game.
    • 34 Metascore
    • 75 Mick LaSalle
    There are lots of cameos, as well, too many to count. However, it is worth mentioning that singer Taylor Swift shows up in a couple of scenes, playing a vapid Valley girl, and she's very funny.
    • 34 Metascore
    • 50 Mick LaSalle
    The strange case of a movie that clunks in every possible way but the ultimate way -- it entertains.
    • 34 Metascore
    • 75 Mick LaSalle
    There's a case to be made for The Real Cancun as a document of the mating dance as well as an unintentionally poignant film about the brevity of youth.
    • 34 Metascore
    • 25 Mick LaSalle
    Another inert, soul-dead action drama that turns actors into zombies...It's garbage.
    • 34 Metascore
    • 50 Mick LaSalle
    Uninvolving. Even the sex is boring. Are these scenes supposed to be wildly erotic? If they are, they don't work. [20 Mar 1992, Daily Notebook, p.D1]
    • 33 Metascore
    • 50 Mick LaSalle
    The strange thing is that for all of Fonda's whining, Pullman's wary squinting and muttering, the bad dialogue, the cheesy effects, the severed toes, the severed heads, the severed bodies and the cliched directorial choices, Lake Placid adds up to a halfway enjoyable time at the movies.
    • 33 Metascore
    • 25 Mick LaSalle
    These are good moments, and there are a few others, that prevent Tomb Raider from being one of the worst films of the year. But they're not enough to make it worth seeing.
    • 33 Metascore
    • 25 Mick LaSalle
    Super- violent, super-serious and super-stupid.
    • 33 Metascore
    • 25 Mick LaSalle
    There's no satisfaction and no pleasure to be gained by sitting through it. The characters are ludicrous and, worse than that, boring. And this is despite all the lead actors doing the best they can.
    • 33 Metascore
    • 50 Mick LaSalle
    Not a campy film, but it revels in extremes, and has the same sort of appeal.
    • 33 Metascore
    • 50 Mick LaSalle
    Though charming at times, just misses, due to a contrived story.
    • 33 Metascore
    • 50 Mick LaSalle
    It's not bad. It's cute.
    • 33 Metascore
    • 50 Mick LaSalle
    Though Zack Snyder is known as an action director, he is a genuine artist and one of the most exciting and promising filmmakers to emerge in the past 10 years. His new movie, Sucker Punch - let's just say it - is a failure, but there's so much talent on that screen that the movie can't be dismissed as a waste of time.
    • 33 Metascore
    • 50 Mick LaSalle
    Let It Ride has atmosphere, plus a good setting, appealing actors - and a bad script. [19 Aug 1989]
    • 33 Metascore
    • 25 Mick LaSalle
    RV
    RV is a horrible movie about horrible people, and just because they call it a comedy doesn't mean we have to play along.
    • 33 Metascore
    • 25 Mick LaSalle
    The bottom line here is that Cyrus is ghastly in The Last Song, bad not just in one or two ways, but in all kinds of ways.
    • 33 Metascore
    • 50 Mick LaSalle
    Mindhunters is as effective as a movie can be and yet still be 100 percent forgettable.
    • 33 Metascore
    • 75 Mick LaSalle
    A very funny romantic comedy that nicely combines Adam Sandler's acerbic sweetness with Aniston's down-to-earth warmth.
    • 33 Metascore
    • 25 Mick LaSalle
    Father-daughter relationship lacks impact.
    • 33 Metascore
    • 50 Mick LaSalle
    There's a psychological undercurrent. The movie occupies a zone where science fiction and nightmares collide and intertwine.
    • 33 Metascore
    • 25 Mick LaSalle
    Jaden is not ready for his solo spotlight, and the film is the same action over and over. Another bad movie from Shyamalan.
    • 33 Metascore
    • 25 Mick LaSalle
    Arrives in theaters today with a sheet over its head and a tag on its toe. So to speak. What we have here is a complete systemic failure, a comedy that's not funny, with action that's not thrilling.
    • 33 Metascore
    • 0 Mick LaSalle
    In stiff competition for the lamest thing ever put on celluloid.
    • 33 Metascore
    • 50 Mick LaSalle
    54
    Amusing and holds interest largely thanks to its re-creation of a glitzy, flamboyant era, not to mention its soundtrack of disco songs that sound a lot better today than 20 years ago.
    • 33 Metascore
    • 50 Mick LaSalle
    Virtually every word and plot turn is insincere, manufactured, unfelt and dishonest, and its portrayal of people demonstrates either an ignorance of human behavior or a disdain for truth.
    • 33 Metascore
    • 75 Mick LaSalle
    200 Cigarettes doesn't have a bad scene or a false note. The picture is a succession of pointed little moments, nicely written by Shana Larsen and acted with comic assurance and sensitivity.
    • 33 Metascore
    • 75 Mick LaSalle
    While it's possible to have a great time with the movie without having any interest in Kiss, it should be noted that the band does make an appearance.
    • 32 Metascore
    • 63 Mick LaSalle
    Tony Scott's vigorous direction is sometimes too vigorous. Loud rock music underscores many scenes, and Scott's habit of shooting at odd angles begins to seem like a mannerism. But on the whole his ambitious attack helps make The Fan entertaining in the moment, even if it's forgettable immediately afterward.
    • 32 Metascore
    • 50 Mick LaSalle
    A fairly mediocre film, not nearly as funny as it should be, nor as heartfelt. On the plus side, it's only 85 minutes long and isn't boring. On the downside, it has an intrusive pop soundtrack and a screenplay full of fake conflicts.
    • 32 Metascore
    • 25 Mick LaSalle
    The Ex isn't painful, horrible or despicable, but it is an amazing mess.
    • 32 Metascore
    • 0 Mick LaSalle
    Proves that it's possible to make a movie so tasteless and so crude that audiences don't laugh. This is worthwhile information. It means there's a limit.
    • 32 Metascore
    • 25 Mick LaSalle
    Nothing but a showcase for the inherent comedic gifts of Cameron Diaz. The problem is she doesn't have any.
    • 32 Metascore
    • 0 Mick LaSalle
    UHF
    In UHF we get 90 minutes of Al Yankovic, and that's 85 minutes too much. The problem isn't that he's weird, but that he isn't weird at all. The premises for his gags are commonplace and predictable, and his follow-throughs lack imagination. He seems incapable of spinning more than one tired joke from each set-up. [21 Jul 1989, p.E1]
    • 32 Metascore
    • 75 Mick LaSalle
    Either Shelton knows this world well, or he's such a great bluffer it doesn't matter.
    • 32 Metascore
    • 25 Mick LaSalle
    The satire is unfocused, while the story goes nowhere. Too bad. The material is ripe for satire.
    • 32 Metascore
    • 75 Mick LaSalle
    It's original and poetic, and if you see it you will probably remember scenes from it a year from now, because it's not really like anything else. It's very much its own thing.
    • 32 Metascore
    • 50 Mick LaSalle
    A boxing movie that exists in that gray area between prototypical and typical, the quintessential and run-of-the-mill.
    • 32 Metascore
    • 50 Mick LaSalle
    A cute and amusing little romance that has all the fiery impetuosity of an egg sandwich.
    • 32 Metascore
    • 25 Mick LaSalle
    An overblown action monstrosity with no surprises, no exhilaration and no thrills.
    • 32 Metascore
    • 25 Mick LaSalle
    It's a romantic comedy with insights into sex and relationships that are old and obvious.
    • 32 Metascore
    • 25 Mick LaSalle
    Saint John of Las Vegas was a bad script that somehow got made into a bad movie with good people in it.
    • 32 Metascore
    • 0 Mick LaSalle
    As plain awful as Untraceable is, possibly the worst thing about it is that it pretends to mean something.
    • 32 Metascore
    • 75 Mick LaSalle
    Martin Lawrence finally gets to show what he can do as a screen comedian.
    • 32 Metascore
    • 25 Mick LaSalle
    A disgrace to the talents of Robert De Niro and Eddie Murphy, but it's not enough just to say that. It's also a disgrace to the talents of Rene Russo and whoever drove the coffee truck to the set every day.
    • 32 Metascore
    • 0 Mick LaSalle
    The race is on for worst film of the year honors. Among the top contenders: Men Cry Bullets.
    • 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.
    • 31 Metascore
    • 25 Mick LaSalle
    With its flat story, numbed-out protagonist, and faux artistic lighting and set design - everything is dark or moody or darkishly moody or moodily dark - Max Payne seems a good half hour longer than its running time.
    • 31 Metascore
    • 50 Mick LaSalle
    Delpy and Scott are able to put it over. She's French and deep and mysterious. He's a fresh-faced American, an open book. Liking them makes it possible to (kinda) like this otherwise routine horror movie.
    • 31 Metascore
    • 25 Mick LaSalle
    The most enjoyable way to watch Surveillance - "enjoyable," in the relative sense - is to take its awfulness for granted and pay attention to everything Bill Pullman does.
    • 31 Metascore
    • 75 Mick LaSalle
    When Travolta plays, everybody has a good time.
    • 31 Metascore
    • 25 Mick LaSalle
    A third-rate effort, with a weak script, cheap-looking effects and no genuine frights.
    • 31 Metascore
    • 75 Mick LaSalle
    To see Perfect Stranger is to wish for a more sophisticated vehicle for a film actress this good, but actors -- and audiences -- take what they can get. This is better than most.
    • 31 Metascore
    • 50 Mick LaSalle
    Perfectly acceptable, perfectly bland, competently acted but by no means a scary horror movie, in which "they" are coming to get people.
    • 31 Metascore
    • 0 Mick LaSalle
    An ugly, misguided exercise.
    • 31 Metascore
    • 25 Mick LaSalle
    It's monumentally coarse and vulgar, aimed at the mentality of a 14-year-old locked inside his father's liquor cabinet, and nothing about it is funny, least of all Adam Sandler.
    • 31 Metascore
    • 25 Mick LaSalle
    Unfortunately, the characters are so programmatic, the premise so ridiculous and the situations so far-fetched even if you accept that premise that no energy can be built, and the little that's there can't be sustained. Red Dawn is a vigorous but pointless exercise.
    • 31 Metascore
    • 75 Mick LaSalle
    Has a high-gloss, heightened style reminiscent of that of the film's executive producer, Joel Schumacher.
    • 31 Metascore
    • 50 Mick LaSalle
    Taps into a fear hitherto unexplored by cinema: fear of Bill Gates.
    • 31 Metascore
    • 25 Mick LaSalle
    It's hard to tell if Cage's performance is a grand stab at all-out, no-holds-barred comic acting or one of the worst dramatic performances in a film this year. [2 June 1989, Daily Datebook, p.E8]
    • 31 Metascore
    • 50 Mick LaSalle
    The result is a film that's far superior to Neil LaBute's "Your Friends and Neighbors'' and more entertaining than Todd Solondz's "Happiness.''
    • 31 Metascore
    • 25 Mick LaSalle
    The film is neither fish nor fowl nor some arresting new entity, but a lumpish coagulation of conflicting impulses and unrealized gestures.
    • 31 Metascore
    • 75 Mick LaSalle
    A generational spectacle that's fun to witness.
    • 31 Metascore
    • 75 Mick LaSalle
    The result is a worthy woman's film and Jolie's best showcase to date.
    • 31 Metascore
    • 0 Mick LaSalle
    A sour story with a repellent lead character, deadly comic schtick and tin-eared direction to produce 90 minutes of sheer, plodding mirthlessness.
    • 31 Metascore
    • 25 Mick LaSalle
    Represents his (Smith) first act of cinematic cynicism, his first crime against his own talent. With this action comedy, he has given us 110 worthless minutes, a bad formula movie like every other bad formula movie.
    • 31 Metascore
    • 50 Mick LaSalle
    The resulting film has the integrity and the ugliness of the truth. It's not true because it's ugly; no, it's ugly because it's true.
    • 31 Metascore
    • 25 Mick LaSalle
    As for Fraser, his clumsy humanity is endearing, but by now, assuming he has invested wisely, he should have enough money saved so as to not have to waste his talent anymore.
    • 31 Metascore
    • 50 Mick LaSalle
    By the end, it reveals itself as too pat, too absurd and -- as a polemic against capital punishment -- philosophically self- defeating.
    • 31 Metascore
    • 75 Mick LaSalle
    It is partly a failure, but mostly it succeeds, and the film's aspiration is so enormous that that's enough for a moving experience.
    • 31 Metascore
    • 25 Mick LaSalle
    Jack is a warm, heartfelt disaster that shows that life is fleeting but movies can be very long indeed.
    • 31 Metascore
    • 0 Mick LaSalle
    The most shocking thing about Harry and Max isn't the subject matter. The most shocking thing is just how tepid it is.
    • 30 Metascore
    • 50 Mick LaSalle
    There is one thing interesting about Alex Cross, and if you miss this, you've missed the whole movie. It's not the story - it's worse than mediocre. It's not the lead actor - nothing wrong with Tyler Perry, but as an action star he's no Vin Diesel. And it's not the dialogue, which has a clunker every other scene. It's the direction. Notice the direction. Alex Cross is a good example of what a seriously talented director can do with a heaping pile of garbage.
    • 30 Metascore
    • 25 Mick LaSalle
    The big disappointment of The Babymakers is that it doesn't come close to being worthy of its two stars, Paul Schneider and Olivia Munn.
    • 30 Metascore
    • 25 Mick LaSalle
    If the first "Hangover" movie were this awful, there never would have been a Part Two. This is a joyless, unfunny mix of comedy and drama, a complete waste of time, with exactly one good joke in the entire movie. It comes in the first minute. After that, you can leave.
    • 30 Metascore
    • 25 Mick LaSalle
    Neither original nor presented in a convincing way.
    • 30 Metascore
    • 50 Mick LaSalle
    It depicts the world of a century ago in a way that comments on the anxieties facing the world today, and it does so, at least for a while, with cleverness and a sense of fun.
    • 30 Metascore
    • 25 Mick LaSalle
    It's a plodding, episodic film, reverent and sanctimonious, and its pro-Southern viewpoint -- a time-honored Hollywood tendency -- makes "Gone With the Wind" look like a Northern polemic.
    • 30 Metascore
    • 75 Mick LaSalle
    A good movie that has been sitting in a film can for two years waiting for a miracle. The miracle came -- Suvari's sudden popularity.
    • 30 Metascore
    • 50 Mick LaSalle
    More hokey than heartfelt.
    • 30 Metascore
    • 50 Mick LaSalle
    In its own ridiculous way, The Butterfly Effect is an entertaining movie, despite mediocre acting, lackluster direction and a story that's sometimes frustrating. It has the integrity of camp, maintaining an odd earnestness in the face of its own absurdity.
    • 30 Metascore
    • 25 Mick LaSalle
    A wretched comedy about middle-aged romance.
    • 30 Metascore
    • 50 Mick LaSalle
    Just like a low-budget football comedy, only with money.
    • 30 Metascore
    • 50 Mick LaSalle
    As far as complete wastes of time go, Zookeeper is not especially offensive. Yet it is surprising that everything you might expect to be charming in it just isn't - namely all the bits involving animals.
    • 29 Metascore
    • 25 Mick LaSalle
    We all know how actors overact when they play Italians, and we all know how actors overact when they play brain-damaged characters, so just imagine Knight's performance as a brain-damaged Italian American.
    • 29 Metascore
    • 75 Mick LaSalle
    A thriller that presses all the buttons: parental love, childhood terror, fear of Vince Vaughn.
    • 29 Metascore
    • 50 Mick LaSalle
    Bleak.
    • 29 Metascore
    • 50 Mick LaSalle
    A respectable and fairly decent movie.
    • 29 Metascore
    • 25 Mick LaSalle
    Attempts to convey emotional dislocation and passion at the same time. All we get is distance.
    • 29 Metascore
    • 0 Mick LaSalle
    Take a wretched premise. Imagine the worst picture that could be made from it. Then imagine something even worse. That's Alien vs. Predator.
    • 29 Metascore
    • 0 Mick LaSalle
    No more than a minute into this, and it becomes obvious that the next 98 are going to be trouble.
    • 29 Metascore
    • 25 Mick LaSalle
    A romantic comedy and an adventure story, but in this case that just means it bombs in two distinct ways.
    • 29 Metascore
    • 25 Mick LaSalle
    The picture gives us two protagonists and sets up a situation in which only one of them can have a decent life. Then, having devised this sour souffle, the screenwriters find no adjustment to make it palatable. The resolution is flip, at best.
    • 28 Metascore
    • 75 Mick LaSalle
    Not about the justice or injustice of the legal system. Rather it's about the tragedy of Sam's predicament.
    • 28 Metascore
    • 25 Mick LaSalle
    About as awful as a film can be without being the ultimate awful, which is boring.
    • 28 Metascore
    • 50 Mick LaSalle
    It's the lightest of the Batman movies, the most cartoony, the dumbest and the least ambitious. But it holds the audience's attention, brings on a few laughs and never really gets boring.
    • 28 Metascore
    • 50 Mick LaSalle
    Had a chance to be not just OK, not just fluff, but something special, and it's a shame that the people making it either didn't realize it or didn't have the guts to take this movie where it wanted to go.
    • 28 Metascore
    • 50 Mick LaSalle
    Most of this huge-cast extravaganza is a botched farce. When that doesn't work, it turns sentimental. The presence of liked and familiar actors helps make it watchable, but there is no disguising that this is a weak, badly constructed comedy. At least it's short.
    • 28 Metascore
    • 50 Mick LaSalle
    The kind of horror movie that's not a bit scary and quite a bit gross.
    • 28 Metascore
    • 25 Mick LaSalle
    That was probably writer-director Roman Coppola's main responsibility in "Charles Swan," to give the audience a character worth watching. Get that right, and everything else falls into place. Get that wrong, and the audience finds out just how long 84 minutes can be. The answer: really long.
    • 28 Metascore
    • 50 Mick LaSalle
    The story, a dystopian tale with heroes and villains and lots of triumphs and reversals, is so busy and so inherently interesting that the movie is entertaining until the finish - or the sort of finish. As only the first part of the story, Atlas Shrugged doesn't end, it stops.
    • 28 Metascore
    • 25 Mick LaSalle
    It has a weak story that provides no tension, feeling or interest. Its opening action sequence is just a long, drawn-out dud, filmed by director John Moore in the worst modern style of quick cuts and smeary, jittery photography.
    • 28 Metascore
    • 25 Mick LaSalle
    Setting out to make a cult movie is almost as strange as setting out to make a camp movie. Or setting out to make a movie that's so bad it's good. If you know you're doing it, you're not really doing it.
    • 27 Metascore
    • 25 Mick LaSalle
    It's as close to nothing as anything could be while still being something.
    • 27 Metascore
    • 25 Mick LaSalle
    There's just the matter of facing it: that The Perfect Man is just something slapped together -- by people who don't care, for an audience they figure will care even less.
    • 27 Metascore
    • 75 Mick LaSalle
    Neither a masterpiece nor a remake of one, but its wistfulness is infectious, and its melancholy mood lingers for days.
    • 27 Metascore
    • 75 Mick LaSalle
    This is a movie in which the audience knows half the gags in advance, but thanks to director Dennis Dugan's timing and Farley's execution, the audience doesn't just laugh anyway, but laughs harder. Knowing in advance is part of the fun.
    • 27 Metascore
    • 25 Mick LaSalle
    As vile, unredeeming and thoroughly unpleasant experiences go, I Spit on Your Grave at least has one thing interesting about it. It's a document of the most paranoid fantasies that urban, Northern people have about a rural Southern people.
    • 27 Metascore
    • 0 Mick LaSalle
    Four screenwriters are credited with this sloppy piece of work. Divide the embarrassment into quarters.
    • 27 Metascore
    • 25 Mick LaSalle
    Twenty minutes in, the movie is already operating at a deficit, and it never recovers.
    • 27 Metascore
    • 25 Mick LaSalle
    Sometimes it's unpleasant, sometimes it's insincere, and for long stretches it's boring.
    • 27 Metascore
    • 50 Mick LaSalle
    Fascinating in its own strange way, not as entertainment but as a cultural document.
    • 27 Metascore
    • 25 Mick LaSalle
    A childish, empty effort.
    • 27 Metascore
    • 75 Mick LaSalle
    For Friday night this will do just fine. It's definitely a good matchup -- Stone's cynical bravado versus Berry's resilient spunkiness in a world-class cat fight.
    • 27 Metascore
    • 75 Mick LaSalle
    It's amazing how far a movie can go on nothing but speed and directness.
    • 27 Metascore
    • 50 Mick LaSalle
    As a movie, it's not much. But it's the best showcase for his charm that Butler has ever had.
    • 27 Metascore
    • 25 Mick LaSalle
    Harmon proves that he can act stupid, and that's not enough to make the movie funny… You're supposed to like Freddy (Harmon), and you're supposed to like his brainless students… But you hate everybody. [24 July 1987]
    • 27 Metascore
    • 50 Mick LaSalle
    How one likes Taxi has everything to do with how one responds to the hapless cop character, played by Jimmy Fallon.
    • 27 Metascore
    • 25 Mick LaSalle
    The overall premise, involving mental illness and suicide, isn't all that funny, at least not in practice, and the picture begins to seem labored and long.
    • 27 Metascore
    • 75 Mick LaSalle
    If Eddie Murphy gets an Oscar for "Dreamgirls" later this month, the deciding factor with voters may be his performance in Norbit. It's much more impressive than anything he does in "Dreamgirls."
    • 27 Metascore
    • 50 Mick LaSalle
    It's a movie, a goofy little movie. Not so bad, but as far as food and sensuality go, ``Like Water for Chocolate'' still has the edge.
    • 27 Metascore
    • 25 Mick LaSalle
    An awkward comedy made surprisingly bearable, most of the way, by one actress' ability to turn on the charm and sparkle.
    • 26 Metascore
    • 25 Mick LaSalle
    Not surprisingly, only Samuel L. Jackson seems fully to understand that he's in a bad movie, and he makes a virtue of it, using it as an excuse to hang loose, overact and ride the scenes for wherever they might go.
    • 26 Metascore
    • 25 Mick LaSalle
    It's a dreadful exercise, tin-eared and sincere, bereft of any truth or inspiration.
    • 26 Metascore
    • 0 Mick LaSalle
    The whole movie is like that: cute, dead and endless.
    • 26 Metascore
    • 25 Mick LaSalle
    Just awful. But uniquely awful -- awful in a way that might just attract a cult audience. [3 Sept 1993]
    • 26 Metascore
    • 25 Mick LaSalle
    Has to go down as a failed comedy. It's just not enough of a comedy.
    • 26 Metascore
    • 25 Mick LaSalle
    One could criticize A Night at the Roxbury for being a comedy that provides not a single laugh. That would be too easy.
    • 26 Metascore
    • 75 Mick LaSalle
    You know how I realized I actually liked I Melt With You? I kept talking about it, and at one point, in the middle of mocking it, I accidentally referred to it as "a good picture." That's when I realized, yes, it really is good, albeit in ways that are different from other movies.
    • 26 Metascore
    • 50 Mick LaSalle
    It's entertainment, but mild entertainment.
    • 25 Metascore
    • 75 Mick LaSalle
    Late in the picture, Sobieski has some line-readings that are so emotionally full, strange and truthful that really nothing more need be said.
    • 25 Metascore
    • 25 Mick LaSalle
    The film is intended to be light and whimsical, but with a core of sincere emotion. But it's as if the thing were made by Martian anthropologists who assume that human audiences are as twisted as the people onscreen.
    • 25 Metascore
    • 0 Mick LaSalle
    There's bad, there's awful and there's horrible, and then somewhere beyond that, in its own Kingdom of Lousy -- where all the milk curdles and the jokes aren't funny -- is License to Wed, the latest ghastly exercise starring Robin Williams.
    • 25 Metascore
    • 25 Mick LaSalle
    A funny comedy for about 90 seconds. Then Bette Midler goes off a cliff.
    • 25 Metascore
    • 0 Mick LaSalle
    The best bits come in the first few minutes -- or maybe the jokes just seem fresher then.
    • 25 Metascore
    • 25 Mick LaSalle
    What we have is the case of a movie with a straight man (Jason Lee) who really is funny, but with a comic (Tom Green) who sadly isn't.
    • 25 Metascore
    • 50 Mick LaSalle
    Meandering and inert. Yet as an etching of an emotion and a vehicle for Costner, the movie makes a case for itself.
    • 25 Metascore
    • 75 Mick LaSalle
    It's the most tension-producing movie out there right now -- in the best way, it's almost unbearable.
    • 24 Metascore
    • 25 Mick LaSalle
    It plays like a string of cliches linked together to form a movie with not a single moment of surprise or originality.
    • 24 Metascore
    • 75 Mick LaSalle
    An old formula made fresh.
    • 24 Metascore
    • 50 Mick LaSalle
    A stink bomb of a movie.
    • 24 Metascore
    • 25 Mick LaSalle
    The Adventures of Ford Fairlane, is a stiff, guaranteed to disappoint just about everybody, except those rooting against him. [11 Jul 1990, p.E1]
    • 24 Metascore
    • 75 Mick LaSalle
    Has a shameless B-movie exuberance.
    • 24 Metascore
    • 25 Mick LaSalle
    Original enough to come up with new ways to go wrong. For one, the film is a blatant showcase to promote O'Neal as a rap artist.
    • 24 Metascore
    • 25 Mick LaSalle
    In Godsend, we have the spectacle of three good actors tied to the mast of a sinking premise.
    • 24 Metascore
    • 50 Mick LaSalle
    A disappointment, but it's not a disaster, and that's at least something.
    • 23 Metascore
    • 50 Mick LaSalle
    Though the Jill problem is too insurmountable to ignore, almost everything else in this comedy succeeds.
    • 23 Metascore
    • 25 Mick LaSalle
    Falls apart immediately, then limps on for 45 minutes more.
    • 23 Metascore
    • 50 Mick LaSalle
    The Condemned isn't post-modern junk, smirky junk, faux junk or clever junk. It's pure junk, with a certain integrity to it.
    • 23 Metascore
    • 25 Mick LaSalle
    A big disappointment.
    • 23 Metascore
    • 0 Mick LaSalle
    This may be hard to believe, but there's not a single moment of drama or tension in any of the action sequences. And the film is made up almost entirely of action.
    • 23 Metascore
    • 25 Mick LaSalle
    About as weak a movie as can be made without actively trying.
    • 22 Metascore
    • 25 Mick LaSalle
    But Congo leads to nothing but a fierce battle with the gray gorillas, a kind of guns vs. fangs scene; and a convenient and incongruous volcano eruption that looks as artificial as a video game.
    • 22 Metascore
    • 0 Mick LaSalle
    It's so low it scrapes through the barrel and deep into the earth's core. It's the lowest piece of garbage to hit screens in months.
    • 22 Metascore
    • 25 Mick LaSalle
    Innocuous and dull.
    • 22 Metascore
    • 25 Mick LaSalle
    Standing Ovation is an innovative film in the sense that every minute or so it comes up with a different way of being annoying. Moreover, it often goes for a layered effect, in which it's annoying in two or three ways simultaneously.
    • 21 Metascore
    • 0 Mick LaSalle
    It is possible to watch 90 minutes of this comedy without once cracking a smile. [12 Jan 1994]
    • 21 Metascore
    • 25 Mick LaSalle
    In the same genre as the Farrellys' "There's Something About Mary" and "Dumb and Dumber," only lousy.
    • 21 Metascore
    • 0 Mick LaSalle
    If garbage could think, it would look down on 9 Dead Gay Guys as garbage.
    • 21 Metascore
    • 0 Mick LaSalle
    The equivalent of a full-course meal with no calories. It is a mirage of a movie, 100 minutes of nothing.
    • 21 Metascore
    • 25 Mick LaSalle
    While the plot is worthless and the battle scenes cheap-looking and unengrossing, Wing Commander has clearly defined characters and relationships. In other words, the film's young actors have nothing interesting to say, but they say it well.
    • 20 Metascore
    • 75 Mick LaSalle
    Has an air of detachment and sadness, enhanced by the movie's being set a full quarter century ago.
    • 20 Metascore
    • 0 Mick LaSalle
    A dull, boring, poorly acted, limply written and thoroughly unappealing fantasy, featuring bland characters locked in a struggle of no interest.