For 2,258 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 point higher than other critics. (0-100 point scale)

Mick LaSalle's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Farewell, My Queen
Lowest review score: 0 Reign of Fire
Score distribution:
2,258 movie reviews
    • 44 Metascore
    • 25 Mick LaSalle
    Perfunctory, thrill- free sequel.
    • 44 Metascore
    • 50 Mick LaSalle
    An appealing film with a hideous title.
    • 44 Metascore
    • 25 Mick LaSalle
    The Village seems poised to become as cheesy in its effects as a low-budget horror film. Shyamalan's gracefulness keeps his movie just out of that abyss.
    • 44 Metascore
    • 25 Mick LaSalle
    A great role becomes an unenviable chore, in which a superb comic actress finds herself trying to sell a series of unfunny comic situations by mugging and pushing with all her might. It's an unflattering spectacle for all concerned.
    • 44 Metascore
    • 50 Mick LaSalle
    A perfect example of an Intelligent Bad Movie.
    • 44 Metascore
    • 75 Mick LaSalle
    The across-the-board strong performances indicate a sure directorial hand. Everyone is made vivid, down to the smallest roles.
    • 44 Metascore
    • 50 Mick LaSalle
    At its best, it's a good picture, and at its worst, it's almost good.
    • 44 Metascore
    • 25 Mick LaSalle
    The Losers is boring. It's predictable. It's so, so active, and yet so, so dead.
    • 44 Metascore
    • 75 Mick LaSalle
    Its story is paint-by- numbers...But it's funny, and funny covers a lot of sins.
    • 43 Metascore
    • 50 Mick LaSalle
    There's no buildup and little shape. Scenes are strong, but the movie as a whole flags.
    • 43 Metascore
    • 50 Mick LaSalle
    The movie doesn't have three brain cells to rub together, but the premise carries it a long way.
    • 43 Metascore
    • 50 Mick LaSalle
    A movie whose main virtue was its honesty ultimately lands in a place that feels canned and unsatisfying. But on the way there, Backwards isn't so bad.
    • 43 Metascore
    • 50 Mick LaSalle
    Not a mediocre film. It is, by turns, a great and awful film.
    • 43 Metascore
    • 50 Mick LaSalle
    The film's overall construction is faulty. Its dramatic situations ring consistently false, and the story is phony as anything off the Hollywood assembly line. And yet, it's sincere phony.
    • 43 Metascore
    • 75 Mick LaSalle
    At all times, the audience believes that it's watching something that really could happen.
    • 43 Metascore
    • 25 Mick LaSalle
    No longer fresh -- though that's to be expected in a sequel -- it contains none of the virtues that made the first one anarchic and original.
    • 43 Metascore
    • 75 Mick LaSalle
    It's a movie to feel. Even when the thinking isn't all there, the emotions are, all the way to the film's poignant last seconds.
    • 43 Metascore
    • 25 Mick LaSalle
    This seemingly good idea results in disaster. Allen has no insight into the current generation of young people, and his film is just a jumbled rehash of themes and motifs that he's explored elsewhere.
    • 43 Metascore
    • 75 Mick LaSalle
    Not as simple as it looks, though its appeal is simple: Robert Redford goes to prison, and James Gandolfini ("The Sopranos") is the warden. That's a movie worth seeing right there.
    • 43 Metascore
    • 50 Mick LaSalle
    Running mainly on adrenaline and a gimmick, it's different from other holiday movies in that it's not ambitious, earnest or overblown, and it obviously wasn't made with one eye on the Oscars.
    • 43 Metascore
    • 50 Mick LaSalle
    Kingpin has nastiness going for it. There are prosthesis jokes, bad-teeth jokes, ugly-women jokes, sight gags involving vomiting, etc.
    • 43 Metascore
    • 50 Mick LaSalle
    Lush and heartfelt, but compelling only in fits and starts.
    • 43 Metascore
    • 75 Mick LaSalle
    The Lady is a portrait in moral and physical courage, a sort of analysis of what constitutes greatness.
    • 43 Metascore
    • 75 Mick LaSalle
    At the finish, the filmmakers give us at least three different endings, probably because they have no idea what Freedomland is saying, probably because it's not saying much of anything. But a film with this many virtues can't be written off as just another average entry.
    • 43 Metascore
    • 50 Mick LaSalle
    His (George Clooney) rugged good looks spell movie star, but his body language spells Don Knotts, without the wit.
    • 43 Metascore
    • 50 Mick LaSalle
    Eventually arrives at a lovely place, but it arrives limping. Small but nagging problems drag it down, such as weird acting choices, bizarre casting and strange aging makeup.
    • 43 Metascore
    • 50 Mick LaSalle
    Follows a predictable format.
    • 43 Metascore
    • 25 Mick LaSalle
    The strain and desperation are apparent from the first scene.
    • 43 Metascore
    • 50 Mick LaSalle
    Is he a hero or a lunatic? He's possibly neither, or possibly a little of both, but this is the problem with making a movie about a real person.
    • 43 Metascore
    • 25 Mick LaSalle
    It's unpleasant where it should be pleasant, convoluted where it should be streamlined, anxiety provoking where it should be easy, and long, long, long - at least 20 minutes longer than it has a right to be.
    • 43 Metascore
    • 25 Mick LaSalle
    Approximately the last hour of Dante's Peak is made up of action scenes, and how well one likes computer-generated destruction will determine how well one likes the movie.
    • 43 Metascore
    • 50 Mick LaSalle
    It's not just that Pitt's performance is bad. It hurts.
    • 43 Metascore
    • 50 Mick LaSalle
    A melodrama about three cliches in search of a bloodbath.
    • 43 Metascore
    • 75 Mick LaSalle
    The film is a methodical and loving examination of two people constructing a fantasy for themselves. [08 Oct 1993]
    • San Francisco Chronicle
    • 43 Metascore
    • 50 Mick LaSalle
    A creditable genre entry, the rare action movie with a discernible story, an assured pace and a charismatic central character. It falls apart in the end.
    • 43 Metascore
    • 75 Mick LaSalle
    So fascinating and has so many implications that it balances out some real flaws in the story.
    • 42 Metascore
    • 25 Mick LaSalle
    This latest from director Wayne Wang, about the friendship of two young women, travels from 2011 to 1997 to 1829 to 1838, in search of a reason for the audience to keep watching and start caring. That reason is never found.
    • 42 Metascore
    • 50 Mick LaSalle
    The Lovely Bones is difficult viewing, a meticulously crafted experiment that, it turns out, wasn't worth it.
    • 42 Metascore
    • 0 Mick LaSalle
    Doesn't work at all. Even the structure is off.
    • 42 Metascore
    • 50 Mick LaSalle
    There's something wrong with a time-travel movie that allows an audience's interest to drift so that we have time to worry over where he's parked, and whether he remembered to take his key.
    • 42 Metascore
    • 50 Mick LaSalle
    Succeeds in its modest way because its stars, Melissa Joan Hart and Adrian Grenier, are pleasant to be around.
    • 42 Metascore
    • 25 Mick LaSalle
    A dreadful exercise, with a script full of contradictions and empty gestures and a leading lady who's such a novice it hurts to watch her.
    • 42 Metascore
    • 50 Mick LaSalle
    Sanctum is by no means a badly made movie, but it has the feel of one of those dramatic re-enactments made exclusively for Imax theaters.
    • 42 Metascore
    • 75 Mick LaSalle
    For sure, this is a cause movie - sometimes it even feels that way - in favor of charter schools and against the teachers unions. Still, Won't Back Down is reasonably fair in its approach.
    • 42 Metascore
    • 50 Mick LaSalle
    Low-budget, oddly cast and strictly indie all the way.
    • 42 Metascore
    • 25 Mick LaSalle
    An action blockbuster that's one of the biggest misfires in its genre since "Godzilla."
    • 42 Metascore
    • 50 Mick LaSalle
    This vaguely funny film is also the saddest and most depressing movie of 2013.
    • San Francisco Chronicle
    • 42 Metascore
    • 75 Mick LaSalle
    Anyone who prefers Hugh Grant and Sandra Bullock to Ralph Fiennes and Jennifer Lopez is bound to regard Two Weeks Notice and not "Maid in Manhattan" as the better candidate for romantic comedy of the season.
    • 42 Metascore
    • 50 Mick LaSalle
    This is a monster movie -- 92 minutes, lots of action, lots of green legs stomping, get in, get out.
    • 42 Metascore
    • 25 Mick LaSalle
    Heartfelt but interminable movie.
    • 42 Metascore
    • 50 Mick LaSalle
    Before it degenerates into a complete mess, it's an entertaining mess, and something about its willingness to please maintains the audience's goodwill throughout.
    • 42 Metascore
    • 75 Mick LaSalle
    Does what good horror movies do: It taps into the baser emotions.
    • 42 Metascore
    • 50 Mick LaSalle
    The pleasures are intermittent but can be located: Jennifer Coolidge, as Jane's travel companion, is funny even when the script isn't, and Feild is a nice stand-in for Colin Firth in the Austen hero department.
    • 42 Metascore
    • 50 Mick LaSalle
    Emotionally false.
    • 42 Metascore
    • 25 Mick LaSalle
    This is just plain bad - and it's a surprise.
    • 42 Metascore
    • 25 Mick LaSalle
    Holes in the script, overwrought camera work, dialogue that's embarrassing, and a plot device that's obvious 10 minutes into the movie - all these are major problems.
    • 42 Metascore
    • 75 Mick LaSalle
    Instead of getting smirky and campy and blowing out the joke in the first few scenes, Grahame-Smith and director Timur Bekmambetov straight-face it. They ask themselves, well, what would it be like if the main struggle of Lincoln's life were with vampires intent on taking over the new world? And they answer the question as realistically and soberly as they can within this loony framework.
    • 42 Metascore
    • 75 Mick LaSalle
    A two-hour nervous breakdown.
    • 42 Metascore
    • 50 Mick LaSalle
    It starts exploring different facets of its premise and transforms itself into a fairly competent suspense thriller. That's enough to make it respectable, but a few things keep Next from being lovable or memorable.
    • 42 Metascore
    • 50 Mick LaSalle
    For all this, there is one unalloyed good thing to be said for High Tension. When all is said and done, it really does live up to its title. In every other way it's trash, but that truth-in-advertising aspect is a major weight to throw into the mix.
    • 42 Metascore
    • 75 Mick LaSalle
    What distinguishes Pattinson in the role is the sense he conveys of someone roiling and churning beneath a surface that is almost, but not quite, calm.
    • 42 Metascore
    • 25 Mick LaSalle
    Floats is corny and false, with a script by Steven Rogers that's almost 100 percent artificial sweetener.
    • 41 Metascore
    • 25 Mick LaSalle
    What a waste of a great comedian. What demented casting.
    • 41 Metascore
    • 50 Mick LaSalle
    I had a migraine when I started watching Larry Crowne, and by the end, it went away. None of this quite adds up to a recommendation, but it's close. Very close.
    • 41 Metascore
    • 50 Mick LaSalle
    A caper comedy with some definite problems.
    • 41 Metascore
    • 50 Mick LaSalle
    An occasionally charming, sometimes amateurish film .
    • 41 Metascore
    • 75 Mick LaSalle
    An extremely funny movie, and this is coming from someone who barely cracked a smile during ``Friday,'' the first installment of this franchise.
    • 41 Metascore
    • 50 Mick LaSalle
    In the end, What to Expect, isn't an inspired movie, but a manufactured one, but one with some laughs and some moments. Plus, it has Chris Rock, who gets to liven things up as the ringleader of a beleaguered fathers' group.
    • 41 Metascore
    • 50 Mick LaSalle
    Benefits from Smith and Lawrence's chemistry. As long as they're on screen together, things breeze along. But when they're apart, the movie flounders.
    • 41 Metascore
    • 100 Mick LaSalle
    The thing most people will take away from Stand Up Guys is that it contains Al Pacino's best performance in years. So if you don't think Al Pacino still has it in him, this is a welcome chance to be proved wrong. But here's something interesting. Stand Up Guys also contains Christopher Walken's best performance in years. In addition, the film is extraordinarily well cast, and the acting, even in the smaller roles, is more than noteworthy.
    • 41 Metascore
    • 50 Mick LaSalle
    An entertaining film for kids and young teens. It's also a product of the era in which we're living, and weird times make for weird movies.
    • 41 Metascore
    • 50 Mick LaSalle
    The picture doesn't come close to approaching the near-classic quality of the earlier film.
    • 41 Metascore
    • 75 Mick LaSalle
    It's that wonderful, totally unambitious yet satisfying thing, a really good movie.
    • 41 Metascore
    • 50 Mick LaSalle
    A weird mix of the refreshing and the dispiriting, Kick-Ass 2 is appealing in its brutal honesty and repellent in its honest brutality.
    • 41 Metascore
    • 50 Mick LaSalle
    Has no insights, no point, no urgency and no importance.
    • 41 Metascore
    • 25 Mick LaSalle
    Another dreadful, not-funny Owen Wilson movie, in which Wilson is the best thing.
    • 41 Metascore
    • 25 Mick LaSalle
    An adventure in mediocrity that brings together some of the worst current techniques and trends.
    • 41 Metascore
    • 25 Mick LaSalle
    The result is that rare movie specimen, a completely intentional, expertly guided work of art that fails almost completely.
    • 41 Metascore
    • 25 Mick LaSalle
    All the movie's narrative gymnastics can't disguise the fact that it's inauthentic at its core and that its story just isn't worth telling.
    • 41 Metascore
    • 100 Mick LaSalle
    It's a pumped-up, intricate and fast-moving yarn that never flags and continues to play out in unexpected ways as it unravels.
    • 41 Metascore
    • 50 Mick LaSalle
    Sabotage cannot be called a good movie, not with a straight face. But as an Arnold Schwarzenegger movie, it has something.
    • 41 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]
    • San Francisco Chronicle
    • 41 Metascore
    • 75 Mick LaSalle
    Before I Go to Sleep emerges as a mystery — one with a slow burn leading to a big payoff. But what keeps the movie going, beyond questions of what is true and what is false, are the issues raised by the illness itself.
    • 41 Metascore
    • 50 Mick LaSalle
    Hop
    The most notable thing about Hop is its technical perfection. It puts live action and animation into the same frame so seamlessly that the filmmakers might easily not get credit for it.
    • 41 Metascore
    • 25 Mick LaSalle
    Rarely do two lines go by without Fellowes changing something, always for the worse.
    • 41 Metascore
    • 75 Mick LaSalle
    After a month, no one will talk about this movie, ever again. Still, with a picture like this, there's really only one question: Is it any fun? Yes. Lots. Definitely.
    • 40 Metascore
    • 25 Mick LaSalle
    In its second half, Outlander falls apart completely, becoming nothing but a violent, mindless monster movie along the lines of "Alien vs. Predator."
    • 40 Metascore
    • 25 Mick LaSalle
    Friedkin is steeped in gore, like some cinematic Macbeth, and it's obscuring his artistic vision.
    • 40 Metascore
    • 50 Mick LaSalle
    Josh Brolin plays the leader of the gangster squad as a kind of dedicated dunce, which is appropriate considering their clumsy antics. Ryan Gosling has more nuance as his right-hand man, but Emma Stone is completely out of her element as a slinky film noir heroine, a walking anachronism.
    • 40 Metascore
    • 25 Mick LaSalle
    Vantage Point has nothing going on. There's no artistic, philosophical or even jolly entertainment reason for adopting this strategy. It's just arbitrary, a gimmick.
    • 40 Metascore
    • 25 Mick LaSalle
    A useless film in every possible way.
    • 40 Metascore
    • 75 Mick LaSalle
    Horrible Bosses 2 is harsh and tasteless, not to mention broad and shameless, but that’s not a bad thing in this case. Softness and good taste, as well as restraint and carefulness, are the enemies of comedy, and “Horrible Bosses 2” is a very funny movie.
    • 40 Metascore
    • 25 Mick LaSalle
    It's a strange thing, this type of whimsy. Kari offers us ideas in place of characters, and yet he expects us to see through these ideas to the real-life conditions they represent - and then to respond to them in kind.
    • 40 Metascore
    • 50 Mick LaSalle
    The pure mechanics of Here Comes the Boom land it in an enjoyable, if forgettable, space.
    • 40 Metascore
    • 50 Mick LaSalle
    It's rough when it works and rough when it doesn't. Much of the first hour is made up of slow patches, while the last 20 minutes are ugly and terrifying.
    • 40 Metascore
    • 25 Mick LaSalle
    The movie is a mess.
    • 40 Metascore
    • 25 Mick LaSalle
    A movie like this depends on clever bits and incidents, but there's little invention here to disguise the film's formulaic nature.
    • 40 Metascore
    • 50 Mick LaSalle
    Too grotesque for children and just too silly for their parents.
    • 40 Metascore
    • 75 Mick LaSalle
    Aside from Patricia Clarkson, who is practically this movie's reason for being, the great virtue of Last Weekend is that it's exactly as it presents itself.
    • 40 Metascore
    • 50 Mick LaSalle
    Actually, the only truly obnoxious thing about 3 Days to Kill is that the violent scenes are more congenial than the family scenes, because the teenage daughter (Hailee Steinfeld) here is presented as a sour, nasty brat.
    • 40 Metascore
    • 75 Mick LaSalle
    There's something heartening about a film that aspires to do nothing but entertain -- and does.
    • 40 Metascore
    • 50 Mick LaSalle
    A little like spending the holidays with strangers. The spirits are high, the relationships are warm, the personal stories have a shared history, and even though you're on the outside of things, you appreciate the people in a remote and perhaps admiring sort of way. Still, when it's time to leave, you're not sorry.
    • 40 Metascore
    • 25 Mick LaSalle
    They take on special powers that the filmmakers are incapable of making interesting, partly because the characters are ciphers, and partly because the story is listless and uninventive.
    • 40 Metascore
    • 50 Mick LaSalle
    Gets most of the big things wrong and almost all the little things right. For two-thirds of its running time, it's a nasty little delight with an amusing and curmudgeonly central character.
    • 40 Metascore
    • 75 Mick LaSalle
    It has a life and style that other buddy action movies lack
    • 40 Metascore
    • 50 Mick LaSalle
    The result is mixed bag, an intermittently pleasing but mostly routine effort.
    • 40 Metascore
    • 50 Mick LaSalle
    To its credit, the movie eschews cheap dramatics, but at times it eschews dramatics altogether.
    • 40 Metascore
    • 75 Mick LaSalle
    Intelligent, observant entertainment designed for an adult audience.
    • 40 Metascore
    • 75 Mick LaSalle
    Remains exciting, even as we laugh at the amateur-night antics of the women.
    • 40 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.
    • 40 Metascore
    • 75 Mick LaSalle
    The sweetest little movie about a neurological disorder that we're ever likely to see.
    • 40 Metascore
    • 25 Mick LaSalle
    Maybe there's a metaphor here, but figuring it out wouldn't make Trouble Every Day any better.
    • 40 Metascore
    • 75 Mick LaSalle
    It feels both big and little, concentrating as it does on the small movements in people's lives and the huge tides of history.
    • 40 Metascore
    • 75 Mick LaSalle
    Man on a Ledge doesn't aim high, but what it aims to do, it does. It grabs the audience's attention, engages its anxieties, stokes its resentments and, at the finish, sends people out saying, "That was good."
    • 40 Metascore
    • 25 Mick LaSalle
    An attempt at a beautiful film about renewal -- about past love, love lost, longing and rediscovery -- but it has no emotional truth.
    • 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.
    • 40 Metascore
    • 25 Mick LaSalle
    Faced with a story that doesn't make much sense, the filmmakers switch gears and try for a sociological statement - something about the marginalized and the neglected. This makes for a funny last five minutes, but sad, too, because Walker was better than this, even if his movies sometimes weren't.
    • 40 Metascore
    • 50 Mick LaSalle
    No campy vampire movie, and the early part of the film is well-made enough that the sadness of Vlad’s dilemma is truly felt.
    • 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
    • 50 Mick LaSalle
    The action is difficult to follow.
    • 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
    It has no ambition, little sense and false sentiment, but it does have velocity, high spirits and scale.
    • 39 Metascore
    • 50 Mick LaSalle
    Though overlong and formulaic, two things keep this street-racing movie of interest all the way to the finish line. The first is Aaron Paul ("Breaking Bad"), a sensitive actor in his first major movie showcase. The second: some extraordinary racing sequences.
    • San Francisco Chronicle
    • 39 Metascore
    • 25 Mick LaSalle
    If you think of Pompeii as a ride, a conveyance for special effects, and not anything resembling an emotional experience, indifference can almost be a good thing.
    • 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
    Audiences looking for a nonstop laugh riot may be disappointed, but the big laughs are there, and they benefit from the movie's underlying sincerity.
    • 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
    • 25 Mick LaSalle
    As a first-time director, Falcone has trouble maintaining a specific tone - the movie wobbles back and forth between sentimentality and silliness, sometimes even within the same scene.
    • 39 Metascore
    • 0 Mick LaSalle
    Truly awful.
    • 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
    • 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
    • 100 Mick LaSalle
    Emotionally sophisticated, humane and worth talking about for hours.
    • 38 Metascore
    • 25 Mick LaSalle
    Ouija has something wrong with it from the first five minutes.
    • 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
    • 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.
    • 38 Metascore
    • 50 Mick LaSalle
    A little too corny to endorse fully, but no one should be discouraged from seeing it.
    • 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]
    • San Francisco Chronicle
    • 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
    • 100 Mick LaSalle
    Third Person is Paul Haggis' best movie, and the one he has been building toward for years.
    • 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
    • 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
    Has many grotesque sex scenes, interspersed with sights of Chong rambling in a dissociated way as she sits in her squalid apartment.
    • 37 Metascore
    • 25 Mick LaSalle
    It's a big disappointment.
    • 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]
    • San Francisco Chronicle
    • 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
    • 75 Mick LaSalle
    Playful and energized enough to keep an audience guessing.
    • 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
    • 50 Mick LaSalle
    About a third of it is a brilliant setup - but it's for a joke that never happens, at least not completely. A comedy, especially a broad sex comedy, needs to go to extremes. But Sex Tape is a little careful and contained.
    • 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
    • 25 Mick LaSalle
    This is anti-funny, where every attempt at a joke is like a little rock thrown at your face.
    • 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]
    • San Francisco Chronicle
    • 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
    Williamson's script, which he also directed, is spiteful and shallow.
    • 35 Metascore
    • 25 Mick LaSalle
    A stink bomb of a movie.
    • 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
    Really, The Expendables 3 has only one thing going for it, beyond the unremarkable novelty of seeing lots of celebrities in a lousy movie. It has Mel Gibson, who is at his grim, tormented and quirky best here, playing someone who has crossed a moral line and has no regrets.
    • 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
    • 25 Mick LaSalle
    Could hardly be called a success -- it's rather a likable disaster.
    • 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
    • 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
    • 75 Mick LaSalle
    As British comedy sometimes will, A Long Way Down has an occasional attack of the cutes, but the actors' commitment keeps the movie on the plus side.
    • 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
    • 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.
    • 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.
    • 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]
    • San Francisco Chronicle
    • 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
    • 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
    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
    • 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]
    • San Francisco Chronicle
    • 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.

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