For 2,244 reviews, this critic has graded:
  • 52% higher than the average critic
  • 2% same as the average critic
  • 46% lower than the average critic
On average, this critic grades 0.9 points higher than other critics. (0-100 point scale)

Mick LaSalle's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 For Colored Girls
Lowest review score: 0 Attack the Block
Score distribution:
2,244 movie reviews
    • 80 Metascore
    • 75 Mick LaSalle
    An entertaining slice of American political and cultural history.
    • 72 Metascore
    • 75 Mick LaSalle
    Has some hilarious moments and still succeeds in dramatic terms.
    • 58 Metascore
    • 75 Mick LaSalle
    A harsh and thoroughly unromantic examination of the scarring effects of war.
    • 62 Metascore
    • 75 Mick LaSalle
    The Dying Gaul has the best kind of story in that it unfolds as a series of surprises, and yet every step, twist and turn seems inevitable in retrospect.
    • 72 Metascore
    • 75 Mick LaSalle
    A passionate, chronicle of an extraordinary artist, and a love story that can't be beat.
    • 66 Metascore
    • 75 Mick LaSalle
    Transamerica provides the frame and the occasion for one of the year's best performances, Felicity Huffman's as a woman trapped in a man's body who's passing for female while awaiting a sex-change operation.
    • 68 Metascore
    • 75 Mick LaSalle
    The World's Fastest Indian might be the world's worst title for a charming, slice-of-life biopic.
    • 74 Metascore
    • 75 Mick LaSalle
    An unlovable movie. It's morally ambiguous, which means there's no real rooting interest. It's episodic, with the same kinds of episodes repeated over and over, so there's little sense of forward motion. It feels philosophically and politically confused, so there's no message to take from it.
    • 60 Metascore
    • 75 Mick LaSalle
    This is Merchant-Ivory's kind of showmanship, the unflashy adult variety of movie magic that they made their hallmark.
    • 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.
    • 53 Metascore
    • 75 Mick LaSalle
    A funny and appropriately skewed comedy.
    • 59 Metascore
    • 75 Mick LaSalle
    Underlying the story is sadness, a sense of mystery and a quality of pain. Enjoy the movie for its surface pleasures, but when it's over, it's those subterranean qualities that will keep it lingering in the mind.
    • 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.
    • 76 Metascore
    • 75 Mick LaSalle
    The film holds us rapt not through narrative suspense but through the eerie and demanding spectacle of profound moral courage, of a powerless good person in collision with absolute evil.
    • 70 Metascore
    • 75 Mick LaSalle
    It takes an extraordinary film on the order of Joyeux Noel to make it all suddenly vital, immediate and human.
    • 47 Metascore
    • 75 Mick LaSalle
    "The Family Stone" did nothing for Parker, but Failure to Launch makes a strong case for life after "Sex and the City."
    • 71 Metascore
    • 75 Mick LaSalle
    A glib satire with a slick surface, lots of snappy patter and nothing to sell but its own cleverness.
    • 45 Metascore
    • 75 Mick LaSalle
    The rare case of a movie that gets better as it goes along.
    • 49 Metascore
    • 75 Mick LaSalle
    A well-constructed and genuinely tense thriller.
    • 64 Metascore
    • 75 Mick LaSalle
    Floats on the charm and the labors of its lead actress, Gretchen Mol, who single-handedly makes the picture worth seeing.
    • 40 Metascore
    • 75 Mick LaSalle
    Intelligent, observant entertainment designed for an adult audience.
    • 66 Metascore
    • 75 Mick LaSalle
    In Mission: Impossible III, we find out whether it's still possible to look at Tom Cruise and not see a weirdo. The answer is yes, but a complicated yes, because it takes time.
    • 99 Metascore
    • 75 Mick LaSalle
    Everything Melville shows us, he shows us for a reason, and these reasons are never obscure but are rather pertinent to the action and to the moral movement of the world and the characters.
    • 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.
    • 57 Metascore
    • 75 Mick LaSalle
    The tribute to an aging parent is moving and gives this routine comedy an extra something.
    • 73 Metascore
    • 75 Mick LaSalle
    Under the cover of what seems like a charmingly slapdash style, the Duplass brothers have created a disarmingly shrewd movie.
    • 52 Metascore
    • 75 Mick LaSalle
    The measure of this kind of movie is its seductiveness, not its logic, nor the ways in which it exploits the supernatural angle, and The Lake House is seductive.
    • 37 Metascore
    • 75 Mick LaSalle
    Sometimes excessiveness and implausibility are virtues in disguise. Movies this enjoyable don't come about by accident.
    • 62 Metascore
    • 75 Mick LaSalle
    Prada just feels authentic, from its glossy look to the specific and sometimes curious behavior of the secondary and tertiary characters. To watch it is like being entertained while getting an anthropological crash course.
    • 70 Metascore
    • 75 Mick LaSalle
    A balanced examination of the reasons for the electric car's disappearance, reasons that include corporate collusion and greed, governmental spinelessness and oil company propaganda -- but also consumer indifference and the limitations of the vehicles themselves.

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