For 2,655 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 lower than other critics. (0-100 point scale)

Mick LaSalle's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Tommy Boy
Lowest review score: 0 Maudie
Score distribution:
2655 movie reviews
    • 80 Metascore
    • 75 Mick LaSalle
    Ultimately, this is not one of the Dardennes' masterpieces. They've made a few of those, but the effect of Lorna's Silence is more modest. It leaves the audience with neither a sense of uplift nor devastation, but, rather, with something more akin to intellectual appreciation.
    • 80 Metascore
    • 75 Mick LaSalle
    A gutsy movie, in that Leigh says something about life that nobody really wants to believe, and he says it forcefully: There is such a thing as "too late."
    • 80 Metascore
    • 100 Mick LaSalle
    This is the kind of pure entertainment that, in its fullness and generosity, feels almost classic.
    • 80 Metascore
    • 100 Mick LaSalle
    Morgan finds the right elements of action and character through which to make history leap off the page.
    • 79 Metascore
    • 75 Mick LaSalle
    The Sessions is moving. At times, it's even erotic, which is unexpected, to say the least. It sends viewers out of the theater with a heightened sense of the physical and a real feeling for all the things that sex means in human life.
    • 79 Metascore
    • 75 Mick LaSalle
    Benefits enormously from Aiello's down-to-earth magnificence.
    • 79 Metascore
    • 100 Mick LaSalle
    An extraordinary and effective film.
    • 79 Metascore
    • 100 Mick LaSalle
    It's one of the best documentaries ever made about show business, about what it really consists of and what it demands.
    • 79 Metascore
    • 75 Mick LaSalle
    Can and should be appreciated as a work of delicate and unmistakable beauty.
    • 79 Metascore
    • 25 Mick LaSalle
    This picture is disgusting. [15 Aug 1986]
    • San Francisco Chronicle
    • 79 Metascore
    • 75 Mick LaSalle
    Fiennes thrives under his own direction, but such is his sense of balance that everyone else thrives, too.
    • 79 Metascore
    • 100 Mick LaSalle
    As a great New York story, it’s also a great American story about ambition and failure, about the kind of people who make it, the kinds who don’t, and all the things that can go wrong.
    • 79 Metascore
    • 75 Mick LaSalle
    Gone Girl is a great thriller until it stops being one, about 20 minutes before the finish. Until then it’s brilliant, not just a triumph of story but of strategy, a movie that keeps the audience grasping and reaching in all the wrong directions, while consistently delivering something a little better, a little crazier and a little more disturbing than expected.
    • 79 Metascore
    • 75 Mick LaSalle
    Worth seeing, both for the ways it's timeless and for the ways it encapsulates an era.
    • 79 Metascore
    • 75 Mick LaSalle
    It's sober, never flashy or exciting but always engrossing.
    • 79 Metascore
    • 75 Mick LaSalle
    The film's impact has a lot to do with Fabio Vacchi's original score, which is both plaintive and coldly modernist, with echoes of Charles Ives.
    • 79 Metascore
    • 75 Mick LaSalle
    This is an important movie, but it’s not a perfect one. It has one enormous flaw, and it’s a testament to the smartness of the writing and the inherent fascination of its viewpoint that it doesn’t wreck the experience: Director Justin Simien doesn’t know how to shape scenes or pull performances from his actors.
    • 79 Metascore
    • 75 Mick LaSalle
    A study of middle-class, middle-aged disappointment in its varying forms, a sober look at different life choices.
    • 79 Metascore
    • 75 Mick LaSalle
    The atmosphere of Loving, the feeling it evokes, is the film’s most distinct quality. The mood is somber and restrained, and the characters — not just the principals, but the people they know — seem beaten down.
    • 79 Metascore
    • 25 Mick LaSalle
    Still, when you’re making a Christian epic and the best thing about it is the guy playing the inquisitor, you have a serious problem.
    • 79 Metascore
    • 100 Mick LaSalle
    Kristin Scott Thomas' performance in I've Loved You So Long is one of a small handful of highlights by which people will remember this year in movies. This is acting at its most exalted.
    • 79 Metascore
    • 50 Mick LaSalle
    As painstaking as a documentary but without the satisfaction of a documentary or the impact of a drama.
    • 79 Metascore
    • 75 Mick LaSalle
    With "Flynt," Love does what Madonna has been trying to do for 12 years -- create a performance filled with humor, intelligence and soul.
    • 79 Metascore
    • 100 Mick LaSalle
    The movie is funny, definitely funny. But underlying the humor is a vision so bleak, so despairing and so utterly hopeless as to make "No Country for Old Men" almost look cheerful.
    • 79 Metascore
    • 75 Mick LaSalle
    Ultimately, The Fighter loses its courage and betrays the terms of its own story by fashioning an interpretation designed to please the people it portrays. It does a switch on us, by changing its focus from Micky's character to Micky's career and then pretending it was really about the career all along.
    • 79 Metascore
    • 75 Mick LaSalle
    In The Five Obstructions, we meet the Danish filmmaker for an extended period, and he's exactly what a fan might hope and expect him to be like: impish, insightful, unpredictable, mildly sadistic and rigorously honest.
    • 79 Metascore
    • 75 Mick LaSalle
    The world here is so ugly that only beautiful tracking shots, rich close-ups and adroit handheld work could make it bearable.
    • 79 Metascore
    • 100 Mick LaSalle
    The story itself is arresting, and if that’s all “Bang” offered, that would be enough. But “Bang” does more.

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