For 2,221 reviews, this critic has graded:
  • 52% higher than the average critic
  • 2% same as the average critic
  • 46% lower than the average critic
On average, this critic grades 1 point higher than other critics. (0-100 point scale)

Mick LaSalle's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 We Were Soldiers
Lowest review score: 0 FeardotCom
Score distribution:
2,221 movie reviews
    • 82 Metascore
    • 50 Mick LaSalle
    The story here isn't much, and the truth it reveals, to them and us, isn't earthshaking, just quiet and somber.
    • 56 Metascore
    • 50 Mick LaSalle
    The story, like the protagonist, floats along in a noodly sort of way, intelligent, benign and ineffectual.
    • 63 Metascore
    • 50 Mick LaSalle
    Anyone who appreciates Sylvester Stallone or enjoys the "Rocky" movies will find moments to enjoy in Rocky Balboa and will leave the theater reasonably satisfied. It's just good to see the guy, and it's good to revisit the character. And that's everything good to be said for the experience.
    • 65 Metascore
    • 50 Mick LaSalle
    The film is mired in gloom, not just sadness, but heaviness.
    • 44 Metascore
    • 50 Mick LaSalle
    Stomp the Yard, at nearly two hours, has a decent story, a good subject and a horrible plot.
    • 54 Metascore
    • 50 Mick LaSalle
    Puccini for Beginners is literate and sensitive, characterized by witty dialogue and smart, emotional two-person encounters.
    • 58 Metascore
    • 50 Mick LaSalle
    It has an affectionate aura, a warmth to it. But at the same time, the audience is left standing on the outside, almost as though watching a home movie: Clearly, this meant something to the people who made it, but it's hard to say what or why.
    • 78 Metascore
    • 50 Mick LaSalle
    Never takes off, but it never collapses. At times, it becomes frustrating -- for example, about 30 minutes are spent pursuing a lead that goes nowhere.
    • 67 Metascore
    • 50 Mick LaSalle
    A big fizzle.
    • 49 Metascore
    • 50 Mick LaSalle
    The result is that most of the picture plays out as a series of scenes in which our hero sits there, gets angry and loses all his money.
    • 71 Metascore
    • 50 Mick LaSalle
    Married to the Mob picks up pace throughout and builds to an exciting finish. [19 Aug 1988]
    • San Francisco Chronicle
    • 69 Metascore
    • 50 Mick LaSalle
    Live Flesh lacks freshness.
    • 47 Metascore
    • 50 Mick LaSalle
    To his credit, writer-director Jonathan Kasdan is sensitive and observant...But he doesn't know what he's talking about, not really, and though he structures the film around his areas of ignorance, that only works partially.
    • 65 Metascore
    • 50 Mick LaSalle
    Jindabyne suffers from too many extraneous elements and from a story that doesn't land with enough force or purpose.
    • 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.
    • 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.
    • 68 Metascore
    • 50 Mick LaSalle
    Director Stephan Elliott too easily buys into the drag queens' conception of themselves as valiant pursuers of illusion, without ever questioning the value of the illusion being pursued.
    • 13 Metascore
    • 50 Mick LaSalle
    Will you find yourself wishing you were looking at someone else? Not really.
    • 48 Metascore
    • 50 Mick LaSalle
    Buffy, the Vampire Slayer is lightweight and fun -- not great fun, but it has its moments. The high school satire angle is both authentic and good-natured. [31 Jul 1992, p.D1]
    • San Francisco Chronicle
    • 49 Metascore
    • 50 Mick LaSalle
    Yet all this work, all this skill, serve as little more than an elaborate setting for a rhinestone. At its core there is no passion, no sincerity of conception, nothing that might have made The Quick and the Dead into anything more than moment-to-moment stimulation. You get lots of clothes here, but no emperor. Or rather, no empress.
    • 52 Metascore
    • 50 Mick LaSalle
    Does a number of sly things.
    • 71 Metascore
    • 50 Mick LaSalle
    It's a modest and mildly funny effort, with good scenes and touches of incisive satire, but it's not quite funny enough, and it's undermined by its camera technique.
    • 45 Metascore
    • 50 Mick LaSalle
    Murphy seems committed to pushing his hostile vision, and that in itself is interesting. [01 Jul 1992]
    • San Francisco Chronicle
    • 66 Metascore
    • 50 Mick LaSalle
    A smirky cleverness infects much of the picture, yet some scenes are so skillfully created that it's hard not to admire them, and Dominique Pinon's sensitive performance as a retired circus man gives the movie a soul. [10 Apr 1992]
    • San Francisco Chronicle
    • 57 Metascore
    • 50 Mick LaSalle
    Traveller is entertaining in a mild, relaxing way.
    • 46 Metascore
    • 50 Mick LaSalle
    It's mostly entertaining, and has some strong moments, but it lacks the special magic that a musical needs, that sense of its inhabiting a parallel universe where any wonderful thing can happen at any moment, including music suddenly arising from nowhere. [10 Apr 1992]
    • San Francisco Chronicle
    • 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.
    • 77 Metascore
    • 50 Mick LaSalle
    There are some nice things to be said about Hairspray, the John Waters movie which opened over the weekend, but not enough to explain all you've been hearing about it. It's a fairly run-of-the-mill teenage dance movie, set in Baltimore in the early '60s, with a certain oddball humor that only occasionally lifts it out of its class. [29 Feb 1988, p.F3]
    • San Francisco Chronicle
    • 51 Metascore
    • 50 Mick LaSalle
    The movie is never much more than fluff. But, like director Donald Petrie's previous film, "Grumpy Old Men," it has an honest core that enables it to keep its balance. [29 Apr 1994]
    • San Francisco Chronicle
    • 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
    • 64 Metascore
    • 50 Mick LaSalle
    You Kill Me is pretty light, but it's well made, and within the built-in limitations of its story -- a hit man goes to Alcoholics Anonymous -- it's fairly pleasing.
    • 69 Metascore
    • 50 Mick LaSalle
    So what's wrong with Joshua? Two things: The audience is ahead of the movie, and the movie never catches up.
    • 71 Metascore
    • 50 Mick LaSalle
    Taken as a motion picture, the new "Harry" comes up short. But taken as a visual aid to the experience of reading a book, the new "Harry" does its job.
    • 55 Metascore
    • 50 Mick LaSalle
    Its weaknesses are clumsy plotting and a less-than-satisfying ending.
    • 56 Metascore
    • 50 Mick LaSalle
    The opening is spectacular, but the rest is fairly routine.
    • 43 Metascore
    • 50 Mick LaSalle
    Follows a predictable format.
    • 59 Metascore
    • 50 Mick LaSalle
    Things are a little off. The style is gritty 1970s-style crime thriller, but the morals are straight out of 2007, and the movie is set in 1988.
    • 51 Metascore
    • 50 Mick LaSalle
    Might have been more effective as a documentary.
    • 59 Metascore
    • 50 Mick LaSalle
    As for Beowulf itself, it's all about the visuals, which means that as soon as the novelty of 3-D wears off, the experience has been had.
    • 78 Metascore
    • 50 Mick LaSalle
    Wallows in bleakness and settles for sentimental gestures.
    • 61 Metascore
    • 50 Mick LaSalle
    The terseness of Hosseini's prose has been replaced by the sentimentality of the director's approach.
    • 43 Metascore
    • 50 Mick LaSalle
    Lush and heartfelt, but compelling only in fits and starts.
    • 42 Metascore
    • 50 Mick LaSalle
    Emotionally false.
    • 92 Metascore
    • 50 Mick LaSalle
    Anderson almost brings off a picture worthy of his grandiose ambition.
    • 41 Metascore
    • 50 Mick LaSalle
    A caper comedy with some definite problems.
    • 46 Metascore
    • 50 Mick LaSalle
    It's 90 minutes of flying, dismembered limbs and explosions of blood, but give the man credit. Stallone can do action. If you want action and nothing but, here it is.
    • 69 Metascore
    • 50 Mick LaSalle
    The movie's effectiveness is distorted by its hero-worship of the Chicago defendants.
    • 47 Metascore
    • 50 Mick LaSalle
    The laughs do come, but not as readily, not as heartily and not as joyfully as you might expect.
    • 47 Metascore
    • 50 Mick LaSalle
    Call it a victory of conviction over substance, but when Argento is onscreen, you look at her - not because she's good, but because she's there in a way nobody else is.
    • 48 Metascore
    • 50 Mick LaSalle
    21
    A movie with an irresistible premise that ultimately collapses around the whole issue of motivation. Until it does, this is a thoroughly entertaining picture.
    • 56 Metascore
    • 50 Mick LaSalle
    It exudes goodwill and high spirits, occasionally makes you feel really good, and yet here and there and in some definite ways, it kinda sorta stinks.
    • 57 Metascore
    • 50 Mick LaSalle
    The movie gets bogged down in the formula conventions of romantic comedy, and in the process, it loses all honesty.
    • 17 Metascore
    • 50 Mick LaSalle
    If you're like me and think that any Pacino movie is sort of worth seeing, so long as he never says, "Hoo-ha," then 88 Minutes won't be a total disappointment.
    • 55 Metascore
    • 50 Mick LaSalle
    You could blast for it, and you still won't find 30 uninterrupted seconds of truth in Baby Mama. The characters are lies. Their emotional workings are lies. The jokes are based on lies about human behavior.
    • 53 Metascore
    • 50 Mick LaSalle
    As a work of entertainment, as a cohesive narrative and as an artistic whole, there's no way to call it anything but an on-balance average effort. Yet there's nothing remotely average about the movie's warm spirit, its imaginative and arresting cinematography or its handful of unique, brilliant scenes and shrewd, bizarre performances.
    • 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.
    • 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.
    • 24 Metascore
    • 50 Mick LaSalle
    A disappointment, but it's not a disaster, and that's at least something.
    • 56 Metascore
    • 50 Mick LaSalle
    The movie's one flaw is this: The whole movie hangs on the gradual unraveling of the central mystery and is made with the expectation that the audience is fascinated and hanging on every tidbit.
    • 64 Metascore
    • 50 Mick LaSalle
    Either a go-for-broke action movie or a sick, sick movie for a sick, sick public.
    • 49 Metascore
    • 50 Mick LaSalle
    More intelligent than most summer blockbusters and features at its center a thought-out and committed performance by Will Smith. But in the end it's merely ALMOST good.
    • 51 Metascore
    • 50 Mick LaSalle
    Finding Amanda is a minor movie for Broderick, but considering where it takes him, it's understandable why he took the role.
    • 82 Metascore
    • 50 Mick LaSalle
    If we're going to be honest, we need to look inside and ask ourselves: Do we really want to see a listless movie about a woman whose dream is to move into a double-wide trailer?
    • 56 Metascore
    • 50 Mick LaSalle
    Maher makes Michael Moore look incredibly likable in comparison.
    • 64 Metascore
    • 50 Mick LaSalle
    Within the realm of a mildly good time.
    • 57 Metascore
    • 50 Mick LaSalle
    Lacks, a story that makes it feel personal.
    • 43 Metascore
    • 50 Mick LaSalle
    The movie doesn't have three brain cells to rub together, but the premise carries it a long way.
    • 58 Metascore
    • 50 Mick LaSalle
    As a drama - an epic drama, no less, clocking in at 137 minutes - its fascination is diffused, and the movie becomes something of a long slog.
    • 82 Metascore
    • 50 Mick LaSalle
    A fine ensemble piece, but a maddening and unjustified length.
    • 67 Metascore
    • 50 Mick LaSalle
    The temptation to be emphatic about Synecdoche, New York is overwhelming but should be resisted, because the movie really is a mixed bag. A particularly odd mix.
    • 49 Metascore
    • 50 Mick LaSalle
    Needless to say, Soul Men has a lot to overcome in its effort to be funny.
    • 86 Metascore
    • 50 Mick LaSalle
    Doesn't hit its stride until the last 30 minutes, and by then, it's just a little too late.
    • 29 Metascore
    • 50 Mick LaSalle
    A respectable and fairly decent movie.
    • 58 Metascore
    • 50 Mick LaSalle
    A film made with high aspirations and more than the usual commitment but one that, after an arresting beginning, changes into a passive rumination.
    • 72 Metascore
    • 50 Mick LaSalle
    Maybe this mixed-up and weird, awful but awfully likable movie is what Dirty Harry had coming to him, after all.
    • 56 Metascore
    • 50 Mick LaSalle
    The history itself is the main appeal here.
    • 45 Metascore
    • 50 Mick LaSalle
    The movie is ridiculous.
    • 72 Metascore
    • 50 Mick LaSalle
    12
    No matter how bad things get, you can always be thankful for this: You're not on trial for murder in Russia.
    • 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.
    • 56 Metascore
    • 50 Mick LaSalle
    The movie is reasonably entertaining, though it helps to be 6 years old.
    • 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.
    • 61 Metascore
    • 50 Mick LaSalle
    For all its sensitivity to the horrors of mental illness, The Soloist ends up as a fairly canned piece of work.
    • 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.
    • 64 Metascore
    • 50 Mick LaSalle
    Adoration, despite a family resemblance to some of his finest work ("The Sweet Hereafter," "Ararat"), is Egoyan at his worst. The movie is slow and airless, with a script so weak one wonders why Egoyan bothered to film it.
    • 50 Metascore
    • 50 Mick LaSalle
    Painless and predictable, with an amusing if overwrought featured performance by Woody Harrelson.
    • 58 Metascore
    • 50 Mick LaSalle
    One can almost feel the movie Away We Go might have been, if only we could believe that Verona loves Burt - or understand why Burt loves Verona.
    • 71 Metascore
    • 50 Mick LaSalle
    The most daring thing that Jonze and Eggers have done is make a children's film that might not really be for kids.
    • 45 Metascore
    • 50 Mick LaSalle
    The result is Allen's weakest film in years.
    • 76 Metascore
    • 50 Mick LaSalle
    As the record of a cultural event, Soul Power is a hit-and-miss affair.
    • 73 Metascore
    • 50 Mick LaSalle
    Yet, even at its worst, Zombieland is better than most movies of its kind - disgusting but not too disgusting, and with a few laughs.
    • 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.
    • 39 Metascore
    • 50 Mick LaSalle
    Feels forgettable, even though, in the moment, it's often very funny.
    • 57 Metascore
    • 50 Mick LaSalle
    Guy Ritchie is the worst screenwriter in the world, but, to be fair, he is not the worst director. He is only the worst director of the people who actually get to make movies.
    • 44 Metascore
    • 50 Mick LaSalle
    A perfect example of an Intelligent Bad Movie.
    • 44 Metascore
    • 50 Mick LaSalle
    Let's just say it: It's great there's a movie that makes teenage girls scream. Half the movies Hollywood makes are designed to make teenage boys scream, and those boy movies are just as ridiculous and a lot nastier than New Moon.
    • 53 Metascore
    • 50 Mick LaSalle
    Never dull, but it's rarely more than gently entertaining.
    • 42 Metascore
    • 50 Mick LaSalle
    The Lovely Bones is difficult viewing, a meticulously crafted experiment that, it turns out, wasn't worth it.
    • 19 Metascore
    • 50 Mick LaSalle
    This is the weird thing, Old Dogs is not that bad.
    • 60 Metascore
    • 50 Mick LaSalle
    There's valuable information here and some human stories that deserve to be heard.
    • 66 Metascore
    • 50 Mick LaSalle
    For all its surface seriousness, Splice is a regulation monster movie. So however somber it gets, it's never truly thought-provoking, and however outrageous it gets, it's still always 20 minutes behind the audience. It's just too dumb to be serious and too slow to be entertaining. Read more: http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2010/06/03/MVKJ1DOO26.DTL#ixzz0pqYvhKuF
    • 49 Metascore
    • 50 Mick LaSalle
    For 70 minutes, Antichrist is a rare exploration of pain, featuring two actors collaborating with each other in agonizing and intimate ways. It also contains some of the best work Gainsbourg has ever done on screen. And then - if I put it more gently I wouldn't really be saying it - director Lars von Trier loses his mind.
    • 54 Metascore
    • 50 Mick LaSalle
    What's impressive about Clooney in The Men Who Stare at Goats is how he marries his goofy, comic side with his dramatic side.
    • 64 Metascore
    • 50 Mick LaSalle
    If you like this sort of movie - and actually, cards on the table, I like this kind of movie - you will not be sorry you saw it. But you will not come away from the experience feeling that you've seen Victoria, young or otherwise.
    • 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.
    • 81 Metascore
    • 50 Mick LaSalle
    Even as it stands, Fish Tank is a valuable movie, though it aspires to a social insight it doesn't attain and a psychological penetration it won't maintain.
    • 77 Metascore
    • 50 Mick LaSalle
    One must be very, very, very, very, very interested in Yorkshire, circa 1980, to embrace and enjoy The Red Riding Trilogy. And yet ... there is something to be said for an enterprise this specific and uncompromising.
    • 43 Metascore
    • 50 Mick LaSalle
    A melodrama about three cliches in search of a bloodbath.
    • 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.
    • 45 Metascore
    • 50 Mick LaSalle
    Brosnan has never been so opened up, so emotional and yet so precise in his work. It's a lovely performance in a film that only sometimes deserves him.
    • 47 Metascore
    • 50 Mick LaSalle
    The mixed report on La Mission is that writer-director Peter Bratt doesn't really know how to make pictures, but he does know the central character in his movie.
    • 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.
    • 78 Metascore
    • 50 Mick LaSalle
    Though I wish Please Give were a little better, there aren't enough American movies like it.
    • 51 Metascore
    • 50 Mick LaSalle
    It's one thing for a romantic comedy to be predictable - they all end at the same destination, after all. But it's quite another thing to be predictable at every twist and turn of the story.
    • 72 Metascore
    • 50 Mick LaSalle
    At first, The Oath looks as though it will be a study of the soul-corroding effects of twisted ideology, but it emerges as the reverse.
    • 55 Metascore
    • 50 Mick LaSalle
    It's marred by loaded language and a propagandistic tone that undercuts rather than promotes its purposes.
    • 79 Metascore
    • 50 Mick LaSalle
    I Am Love casts no spell and creates no narrative urgency. It's as compelling as mildly interesting gossip about people you don't know.
    • 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.
    • 72 Metascore
    • 50 Mick LaSalle
    When compared with the ambition and achievement of recent animated films, such as "Coraline" and "Toy Story 3," Despicable Me hardly seems to have been worth making, and it's barely worth watching.
    • 49 Metascore
    • 50 Mick LaSalle
    Despite the title, Ismailos' documentary is not a study of what constitutes great direction. Rather it's a nicely arranged film in which a variety of filmmakers Ismailos likes discuss their inspirations and influences.
    • 36 Metascore
    • 50 Mick LaSalle
    Just another bloody cop thriller.
    • 77 Metascore
    • 50 Mick LaSalle
    The movie's pleasures are acting pleasures, but the movie doesn't compel attention and never seems like more than the frame for a performance.
    • 60 Metascore
    • 50 Mick LaSalle
    Sober and dispiriting, tense and morose.
    • 65 Metascore
    • 50 Mick LaSalle
    Patrik Age 1.5 has a single drawback that can't be overlooked, at least from the standpoint of an American viewer. It's predictable.
    • 45 Metascore
    • 50 Mick LaSalle
    And give credit to Stallone: He just leaves the camera on Rourke, in the tightest of close-ups, cutting only once, to himself, for a one-second reaction shot, but keeping the focus on his actor. A great actor.
    • 52 Metascore
    • 50 Mick LaSalle
    The movie's flaw is impossible to ignore, turning on the most tired of romantic comedy conventions: Someone knows something, and all that person has to do is say it, and the movie is over and everything's great.
    • 65 Metascore
    • 50 Mick LaSalle
    If this movie were a human being, it would be intelligent and sincere but so depressed as to be unable to get out of bed without a forklift.
    • 63 Metascore
    • 50 Mick LaSalle
    The result is a film of passion and ambition, but one whose success is intermittent at best.
    • 65 Metascore
    • 50 Mick LaSalle
    Though the film seems less like a theatrical release and more like something that might play on an obscure PBS station at 2 p.m. on a Sunday afternoon, it's reasonably interesting as a personality study.
    • 59 Metascore
    • 50 Mick LaSalle
    Greed is boring.
    • 51 Metascore
    • 50 Mick LaSalle
    It's a meandering and rather aimless movie that would be considered trite if made by another filmmaker, and yet it has such a family resemblance to other, better Woody Allen movies that it's easy to stick with it and enjoy it.
    • 64 Metascore
    • 50 Mick LaSalle
    The tone is both satiric and serious, zany but heartfelt, and for a while - maybe 20 minutes - all seems well.
    • 43 Metascore
    • 50 Mick LaSalle
    Not a mediocre film. It is, by turns, a great and awful film.
    • 82 Metascore
    • 50 Mick LaSalle
    127 Hours, about an unimaginably unbearable experience, is pretty much an unbearable experience of its own. And yet, it must be said, it's exceptionally well made.
    • 57 Metascore
    • 50 Mick LaSalle
    Roger Michell directs it as though it were an uproarious comedy, but the laughs are light, and the story's real appeal lies in its behind-the-scenes look at the manners and politics of morning television.
    • 52 Metascore
    • 50 Mick LaSalle
    If The Next Three Days were just a little more mindless, it might have been more joyful.
    • 57 Metascore
    • 50 Mick LaSalle
    The film is engaging but also has a certain creaking familiarity.
    • 57 Metascore
    • 50 Mick LaSalle
    Dunst is not the only person doing quality work in All Good Things, but she is the only one worth watching.
    • 76 Metascore
    • 50 Mick LaSalle
    As a viewing experience, the film is by turns heartrending and stultifying, but mostly stultifying.
    • 33 Metascore
    • 50 Mick LaSalle
    It's not bad. It's cute.
    • 50 Metascore
    • 50 Mick LaSalle
    The movie is just good enough to make us want more and to understand what's missing.
    • 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.
    • 69 Metascore
    • 50 Mick LaSalle
    In the end, Crash lacks a cumulative impact. It takes audiences to new places, but we've all been to similar places, and we walk out knowing no more than we did walking in.
    • 64 Metascore
    • 50 Mick LaSalle
    For the most part, it's fairly pleasant and interesting enough to be there.
    • 45 Metascore
    • 50 Mick LaSalle
    Hall Pass attempts to take the Farrellys' harsh humor and bring it into harmony with what has become the modern comic style, which is to be coarse but not absurd, to be brutally honest but real.
    • 49 Metascore
    • 50 Mick LaSalle
    Mars Needs Moms floats about 45 minutes' worth of story in an 88-minute ocean.
    • 76 Metascore
    • 50 Mick LaSalle
    This latest adaptation of the Charlotte Brontë novel is careful, respectful and even enjoyable, and yet dry, singularly humorless and played without the lavishness of spirit that makes sense of Gothic melodrama.
    • 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.
    • 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.
    • 52 Metascore
    • 50 Mick LaSalle
    The movie is hampered throughout by little inconsistencies.
    • 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.
    • 65 Metascore
    • 50 Mick LaSalle
    Still, those who meet the movie on its own terms and don't expect a masterpiece may appreciate the commitment of Wright and the actors. Blanchett goes out of her way, for example, to be repellent here.
    • 49 Metascore
    • 50 Mick LaSalle
    Henry's Crime has three charismatic actors - Reeves, Vera Farmiga and James Caan - in search of a decent script, and what they find, instead, are a handful of good scenes and lots of room to build their respective characters.
    • 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.
    • 51 Metascore
    • 50 Mick LaSalle
    The result is a movie that one watches with the sense of pushing it up a hill.
    • 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.
    • 49 Metascore
    • 50 Mick LaSalle
    Though it's only 72 minutes, by the time it's over, you'll be ready for it to end. Still, as a glimpse of the Arab world right before the Arab Spring, this documentary may be of some lasting interest.
    • 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.
    • 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.
    • 57 Metascore
    • 50 Mick LaSalle
    Horrible Bosses has a handful of hilarious moments, but it's not exactly funny and not exactly serious, either.
    • 59 Metascore
    • 50 Mick LaSalle
    Structurally, this becomes a little monotonous because there's just no denying that some kids are more interesting than others.
    • 59 Metascore
    • 50 Mick LaSalle
    I lost patience with a widow who is grieving one month and then making out with a guy in a bar the next. This is an emotional recovery even Hamlet's mother might have found unseemly.
    • 68 Metascore
    • 50 Mick LaSalle
    It is not what could be fairly called a bad movie, but neither is it fine enough to be a good one, with its lineup of dull characters and a limp story that functions like a conveyor belt.
    • 49 Metascore
    • 50 Mick LaSalle
    30 Minutes or Less is a strange case. Either it goes for a particular tone and doesn't achieve it. Or it does achieve a tone that's not really worth striving for.
    • 67 Metascore
    • 50 Mick LaSalle
    July also narrates the film, in voiceover, as the cat, and every time she does, it's a white-knuckle thing. You have to hold on until she stops.
    • 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.
    • 85 Metascore
    • 50 Mick LaSalle
    Take Shelter has a problem, the simplest of all problems but no less serious for its being simple. It's a film without suspense and with a slow-moving story that unfolds without surprise or embellishment.
    • 37 Metascore
    • 50 Mick LaSalle
    Trespass never advances beyond being a grand manipulation.
    • 49 Metascore
    • 50 Mick LaSalle
    Mighty Macs further distinguishes itself by, for once, giving a fair shake to nuns, who are treated with respect both in the performance of Ellen Burstyn, as the mother superior, and of Marley Shelton, who plays the assistant coach. It's about time.
    • 58 Metascore
    • 50 Mick LaSalle
    Alas, Gainsbourg: A Heroic Life loses steam and grows more perfunctory as it wears on.
    • 56 Metascore
    • 50 Mick LaSalle
    That the movie is leisurely and unconventional is all part of its charm, too - until it isn't anymore. The movie is a tale of corruption, but then it's not. It's a love story, but no, not quite. Later, it flirts with becoming a great journalism tale, or at least a whimsical journalism tale, but that vein leads nowhere, too. Nor is it much of anything else.
    • 59 Metascore
    • 50 Mick LaSalle
    It's watchable and reasonably entertaining, to be sure. Eastwood doesn't make movies that are hard to sit through. But something in the film's point of view is off, not at cross-purposes, not contradictory, but incomplete, irrelevant and ever-so-faintly ridiculous.
    • 23 Metascore
    • 50 Mick LaSalle
    Though the Jill problem is too insurmountable to ignore, almost everything else in this comedy succeeds.
    • 80 Metascore
    • 50 Mick LaSalle
    If only Lars von Trier took into account that audiences might actually want to enjoy Melancholia, rather than endure it, or sift through it, or submit to the director's will, he might have made something extraordinary.
    • 83 Metascore
    • 50 Mick LaSalle
    The result is a movie that's kinetic yet slow, whose joys are architectural more than spiritual.
    • 76 Metascore
    • 50 Mick LaSalle
    Instead we get Knightley, who juts her chin, quakes, shakes and bugs her eyes, but nothing about her pain calls out to us, because nothing in it seems real.
    • 51 Metascore
    • 50 Mick LaSalle
    Let's start by admitting three things: that Contraband is a ridiculous movie, that it wasn't meant to be a ridiculous movie, and that it's an enjoyable movie. One of the things that makes it enjoyable is that it's so ridiculous.
    • 67 Metascore
    • 50 Mick LaSalle
    The first Russian musical in more than 50 years, Hipsters is appreciated best as a curiosity.
    • 46 Metascore
    • 50 Mick LaSalle
    It's a far better thing to remember Extremely Loud and Incredibly Close than to watch it. Looking back, much of what is irritating, precious and tiresome about the movie recedes and drops away, while all the movie's virtues, which are considerable, rise to consciousness. There are good things here - just be prepared to blast for them.
    • 57 Metascore
    • 50 Mick LaSalle
    Though the movie drips and aches with good intentions, I do wonder how lesbians may feel about seeing lesbianism presented as a mere traumatized distortion of female heterosexuality.
    • 82 Metascore
    • 50 Mick LaSalle
    Once Upon a Time in Anatolia is boring, but not in the usual way of boring movies. It is colossally, memorably and audaciously boring.
    • 46 Metascore
    • 50 Mick LaSalle
    Cleverness won't carry it. Nothing less than overarching vision is required; otherwise, the audience will laugh for 10 minutes and then start to check out. And that pretty much states the problem of Mirror Mirror.
    • 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.
    • 64 Metascore
    • 50 Mick LaSalle
    To my eyes, the whole thing looks sad, like something people might cling to in the absence of religion - or a kind of religion in itself, minus dogma or salvation, but with lots of people standing around dressed like total goofballs.
    • 48 Metascore
    • 50 Mick LaSalle
    Most of the time Lockout is pleasant enough, not something to recommend to a friend, but enjoyable in the moment. Guy Pearce has a lot to do with that, as the most impervious action star imaginable.
    • 82 Metascore
    • 50 Mick LaSalle
    There is no diverting from strict chronology, no point the documentary wants to make that requires moving forward and back through time. It just inches ahead, one year to another, sometimes one day to another. By the middle, each time a year changes, it's a relief.
    • 59 Metascore
    • 50 Mick LaSalle
    The name of this documentary is Surviving Progress, but that's only because "The Sky Is Falling and We're All Gonna Die" wouldn't fit on a marquee.
    • 44 Metascore
    • 50 Mick LaSalle
    The story has its moments, and yet there is something about this tale of a serial killer's patterning his crimes on Poe's most gruesome works that doesn't completely satisfy.
    • 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.
    • 50 Metascore
    • 50 Mick LaSalle
    Elles has about half of a story stretched to feature length, and it manages to end just as a good story might have been kicking in. But that is often the way with foreign cinema: The Europeans know how to do sex, but we know how to do stories.
    • 53 Metascore
    • 50 Mick LaSalle
    There is no denying that every time Gyllenhaal steps into a frame she takes a sleeping movie and wakes it up.
    • 57 Metascore
    • 50 Mick LaSalle
    Some of the elements in the film are inexplicable and some are undeveloped, but there are a handful of nicely crafted set pieces.
    • 65 Metascore
    • 50 Mick LaSalle
    Try as it might, the movie is hardly profound, and the murky atmosphere and the leaden pace drag things down.
    • 49 Metascore
    • 50 Mick LaSalle
    Lister is quite funny and engaging. It's just too bad that some of that screenwriting wit couldn't have been shared with the movie's protagonist.
    • 69 Metascore
    • 50 Mick LaSalle
    In terms of story and emotional power, Brave comes up short.
    • 54 Metascore
    • 50 Mick LaSalle
    Yet here's what's strange: As awful as To Rome With Love is - and the awfulness is unmistakable - it is, as an experience, not unpleasant. You will probably see several better movies this year that you will enjoy less. It's a mess, but it's Rome. It's a mess, but it's Woody Allen.
    • 63 Metascore
    • 50 Mick LaSalle
    Nobody Else But You takes a novel concept and a willing leading lady and squanders both through drab, lifeless storytelling.
    • 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.
    • 78 Metascore
    • 50 Mick LaSalle
    Moments are stretched. Every recollection must be illustrated by a flashback. Character motivations shift on a dime, and if you understand even half of what's going on - not generally, but specifically - you'll be doing better than most.
    • 75 Metascore
    • 50 Mick LaSalle
    Easy Money takes its time telling us how all the fortunes of all three men intersect, and the movie's failing - or at least its significant imperfection - is that when the stories and lifelines do converge, the results just aren't satisfying.
    • 58 Metascore
    • 50 Mick LaSalle
    There's not really a movie there, nothing that sustains itself from scene to scene and nothing that's worth watching from beginning to end.
    • 50 Metascore
    • 50 Mick LaSalle
    Little White Lies is never boring, always watchable, always reasonably rewarding. It's just that, when it's over, 2 1/2 hours seems too big an investment for just pretty good.
    • 52 Metascore
    • 50 Mick LaSalle
    At its best, the film uses fishing as a window into the internment experience. At its worst, it uses the internment story as the backdrop for a documentary on trout fishing.
    • 86 Metascore
    • 50 Mick LaSalle
    If it were just a middling effort, The Master would be a lot less frustrating. But the latest from writer-director Paul Thomas Anderson has greatness in it - two extraordinary performances, intuitive and revealing photography and scene setting, and a distinct directorial sensibility that hovers between sobriety and satire. Yet all those virtues are undermined by a narrative that goes all but dead for the last hour.
    • 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.
    • 40 Metascore
    • 50 Mick LaSalle
    The pure mechanics of Here Comes the Boom land it in an enjoyable, if forgettable, space.
    • 66 Metascore
    • 50 Mick LaSalle
    Compared with other movies, Seven Psychopaths is clever and inventive enough to be considered a weak success or a modest failure, the kind of effort that usually gets damned with the faint praise of "not bad."
    • 17 Metascore
    • 50 Mick LaSalle
    Is it a comedy if the audience laughs or is it a comedy if laughs were intended, irrespective of whether they're generated? Excuse Me for Living qualifies under the second definition.
    • 75 Metascore
    • 50 Mick LaSalle
    What makes Middle of Nowhere a break-even proposition, rather than something to avoid, is that it deals with an aspect of life and with characters rarely seen in movies.
    • 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.
    • 54 Metascore
    • 50 Mick LaSalle
    The movie is achingly slow, and by the time it's over, the story is about where it should have been after about 45 minutes. Then it ends just as it gets good, or as it's starting to.
    • 45 Metascore
    • 50 Mick LaSalle
    So at the very least, audiences will come away from Chasing Mavericks with a deeper understanding of surfing and an appreciation for surfers.
    • 81 Metascore
    • 50 Mick LaSalle
    As a movie about mental illness, Silver Linings Playbook is more lightweight than lighthearted. But thanks to Lawrence, it does one good thing most movies don't do. It actually gets better as it goes along.
    • 79 Metascore
    • 50 Mick LaSalle
    It's a slow-moving fable, with enough story and substance to make for one amazing Imax short. Instead the material is stretched beyond its limits into a long, repetitive and often stagnant 127-minute feature film.
    • 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.
    • 82 Metascore
    • 50 Mick LaSalle
    It is probably unlike any movie you've ever seen, and in ways both bad and good. It is, by turns, inept and brilliant, shockingly amateurish and inspired. To see it is to sit there for long stretches amazed at how clumsy, fake and misguided it is. But then, five minutes later you might easily be riveted and moved by its awkward brilliance.
    • 55 Metascore
    • 50 Mick LaSalle
    The only way Bill Murray could seem less like Franklin D. Roosevelt in Hyde Park on Hudson is if the movie showed him winning a marathon.
    • 50 Metascore
    • 50 Mick LaSalle
    An average action film, made slightly better by Cruise, and more bizarre by Herzog, and more watchable by Pike, but still within the average range, a silk purse that still says oink.
    • 63 Metascore
    • 50 Mick LaSalle
    Fans of Les Misérables wouldn't have minded if the movie were different, but better, or just as effective. The screen version demanded some reconception, some vision to make sense of its existence. Instead, we're left with a film that is conscientious in all its particulars and yet strangely and mysteriously dead.
    • 52 Metascore
    • 50 Mick LaSalle
    The first half of My Worst Nightmare contains some of the best comedy and the biggest laughs of the season, and the second half ... eh.
    • 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.
    • 49 Metascore
    • 50 Mick LaSalle
    It's never boring, but it lacks a cumulative impact.
    • 59 Metascore
    • 50 Mick LaSalle
    There's one really good idea at work in Warm Bodies, which is to take "Romeo and Juliet" and mash it up with a zombie movie.
    • 57 Metascore
    • 50 Mick LaSalle
    Some of the best bits of the original movie are replayed here but lose their punch the second time around - the horse manure bit, the skate board sequence. Maybe people who never saw the first movie will get a big kick out of them. [22 Nov 1989, p.E1]
    • San Francisco Chronicle
    • 51 Metascore
    • 50 Mick LaSalle
    About one idea short of being an excellent teenage romance. As it stands it's a pleasing but routine effort.
    • 51 Metascore
    • 50 Mick LaSalle
    Not the usual action movie. It's too odd for that. Based on a true story, it has the weirdness of real life, which is good. But also like real life, it has that funny way of not making much sense or being all that enjoyable.
    • 48 Metascore
    • 50 Mick LaSalle
    The movie has a certain integrity and creates an interesting atmosphere, largely thanks to the soundtrack, of all things, which gives most moments a dreamy undertone.
    • 45 Metascore
    • 50 Mick LaSalle
    All Upside Down has is its love story, which despite the undeniable appeal of Sturgess and Dunst, never ignites. So the movie is like a huge package, wrapped in gold leaf, but containing a 10-dollar toaster. Fine. It's a toaster. It works. It's not garbage. But who can pretend it's not a disappointment?
    • 53 Metascore
    • 50 Mick LaSalle
    Two things hold back Don't Stop Believin' as a documentary. The first is that it presents the world of Journey and the people in it through such a lens of love and light that it begins to seem like a publicity film...The second flaw is that it leaves out vital information. It doesn't, for example, answer the big question, "What happened to Steve?"
    • 48 Metascore
    • 50 Mick LaSalle
    Everybody in Admission is funny - Tina Fey, Paul Rudd, Lily Tomlin, Wallace Shawn - but they're not funny in Admission.
    • 55 Metascore
    • 50 Mick LaSalle
    The film may be intended to launch the movie careers of Patrick Stewart and the gang from ''Star Trek: The Next Generation,'' but any vibrancy, any emotional power it has derives from William Shatner as Kirk. And it's not even his movie. [18 Nov. 1994, p.C1]
    • San Francisco Chronicle
    • 61 Metascore
    • 50 Mick LaSalle
    Where the movie goes wrong is that it sets itself up as a study of a pathological personality but never delivers.
    • 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.
    • San Francisco Chronicle
    • 62 Metascore
    • 50 Mick LaSalle
    Violent and nonsensical, with story elements in contradiction, it is lifted up by the efforts of the actors, who try to put a human face on the blockbuster machinery and almost succeed.
    • San Francisco Chronicle
    • 53 Metascore
    • 50 Mick LaSalle
    With Kika Almodovar seems to be saying something about voyeurism, though what he is saying is never nailed down. [27 May 1994, p.C3]
    • San Francisco Chronicle
    • 77 Metascore
    • 50 Mick LaSalle
    For all Wong's energy and virtuosity, the relentless stylishness and whimsicality of Chungking Express become irritating. The cast is appealing -- particularly the forlorn young cops. But the velocity of Wong's attack seems out of proportion to the airy, lightweight quality of the stories.
    • 42 Metascore
    • 50 Mick LaSalle
    This vaguely funny film is also the saddest and most depressing movie of 2013.
    • San Francisco Chronicle
    • 80 Metascore
    • 50 Mick LaSalle
    Wild Reeds is a sober, heartfelt piece of work, sensitively directed and lovingly photographed -- though slightly dull, if we're going to be perfectly honest.
    • 36 Metascore
    • 50 Mick LaSalle
    The problem is the script, which, in scene after scene, contains no surprises.
    • 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.
    • 44 Metascore
    • 50 Mick LaSalle
    Get past the comedy and there's something almost weird at the movie's core - a deep cynicism about family and a longing for family, both at the same time.
    • 66 Metascore
    • 50 Mick LaSalle
    A nice idea for a movie, but has a mostly silly script and some of the craziest and most laughable casting imaginable. But the movie's main challenge is a simple one: It is very difficult, next to impossible, to build a movie around an inert, inactive character.
    • 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.
    • 44 Metascore
    • 50 Mick LaSalle
    At its best, it's a good picture, and at its worst, it's almost good.
    • 74 Metascore
    • 50 Mick LaSalle
    The chief asset of Ain't Them Bodies Saints is Rooney Mara, who gets more interesting with every movie.
    • 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.
    • 78 Metascore
    • 50 Mick LaSalle
    Neither does it help that, despite the wit and literacy of Enough Sad, its form is straight out of a teen romance: A cool kid starts dating someone less cool, and then engages in some elaborate deception that, if found out, will threaten the progress of young love. The funny thing is, if Enough Said were converted wholesale into a high school romance, the characters' behavior might ring more true.
    • 50 Metascore
    • 50 Mick LaSalle
    That's a lot of talent and star power at play here, made all the more conspicuous in that they don't really get much to work with. Not only is the movie just so-so, but the parts themselves aren't much.
    • 58 Metascore
    • 50 Mick LaSalle
    As a movie, Escape From Tomorrow is at best pretty good, but the way it was made makes it something unique, possibly memorable.
    • 49 Metascore
    • 50 Mick LaSalle
    Not entirely successful or appealing - not exactly a delightful evening in the company of scintillating characters - but interesting all the same.
    • 51 Metascore
    • 50 Mick LaSalle
    Director Doug Hamilton was given extraordinary access from the very beginning, so that we see Green Day composer and lead singer Billie Joe Armstrong having some of his initial meetings with Broadway director Michael Mayer, who conceived the show.
    • 65 Metascore
    • 50 Mick LaSalle
    Despite its general intelligence and worthy performances, Kill Your Darlings makes it difficult to see how the Beats ever caught on.
    • 35 Metascore
    • 50 Mick LaSalle
    It's a gallant battle against flawed material, and Hirschbiegel fights it to a draw.
    • 54 Metascore
    • 50 Mick LaSalle
    Bigger is not always better. Thor: The Dark World pumps up the action and special effects and loses some of the human element that made the original "Thor" something charming and unexpected. True, this sequel gets better as it goes along, but that's a very steep climb just to arrive at not bad.
    • 59 Metascore
    • 50 Mick LaSalle
    It's not all bad. It's just part bad: It suffers from cliches and corniness, from the same kinds of scenes played over and over, and from more false endings than the last "Lord of the Rings" movie.
    • 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.
    • 48 Metascore
    • 50 Mick LaSalle
    Black Nativity is a just-OK feature film that, as an hour-long television special, could have had the makings of a classic.
    • 81 Metascore
    • 50 Mick LaSalle
    It's dull in the precise way that life can be dull. To watch it is like sitting in on a staff meeting, listening to people talk on and on and on. Professors are used to talking nonstop, and in a few cases in At Berkeley it's rather astonishing to hear them repeating the same ideas over and over, instead of just coming to a point and stopping.
    • 64 Metascore
    • 50 Mick LaSalle
    Only when it makes the claim for Page as a pivotal figure in American culture does it overstate the case and become tiresome.
    • 65 Metascore
    • 50 Mick LaSalle
    The film is too intelligent and well-crafted to dismiss and too good to hate. Some people will love it, and at worst, most people will like it a little.
    • 90 Metascore
    • 50 Mick LaSalle
    Her
    The story is too slender for its two-hour running time, and the pace is lugubrious, as though everyone in front and behind the camera were depressed. But the biggest obstacle is the protagonist (Joaquin Phoenix), who is almost without definition.
    • 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.
    • 60 Metascore
    • 50 Mick LaSalle
    Lone Survivor, from start to finish, is a tale of disaster, of bad luck and bad communication, perhaps even faulty planning, though that's hard to say. So the movie loses the common touch of average folk trying to get by, while also losing some of the pleasure of watching a crack unit at work.
    • 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.
    • 52 Metascore
    • 50 Mick LaSalle
    This is win-win for everybody, but it's too win-win - a setup that short-circuits drama, that shoehorns a situation into a precooked formulation: He's a real prisoner and she's an emotional prisoner, and each offers the other the possibility of freedom.
    • 82 Metascore
    • 50 Mick LaSalle
    Stranger by the Lake has no rating, but if it had, it would earn an NC-17 ten times over.
    • 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.
    • 62 Metascore
    • 50 Mick LaSalle
    Daring and gutless at the same time. It's daring in that it's a romantic movie that's willing to be coarse. It's gutless in that it refuses to paint any of its characters in a negative light, even temporarily.
    • 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.
    • 56 Metascore
    • 50 Mick LaSalle
    Thanks to him (Neeson), I not only enjoyed Non-Stop, but I'd watch it again. Particularly on a plane.
    • 51 Metascore
    • 50 Mick LaSalle
    John Lennon once said that because he was an artist, if you gave him a tuba, he could get something out of it. The Face of Love presents us with Annette Bening and Ed Harris playing the tuba. They get something out of it - they get everything there is to get and more - but it's not enough.
    • 81 Metascore
    • 50 Mick LaSalle
    All this is interesting, or interesting enough, depending on how you feel about Elaine Stritch. If you're a particular fan, this documentary is a must-see. But for everyone else, a little of Elaine's personality goes a long way.
    • 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
    • 48 Metascore
    • 50 Mick LaSalle
    This society makes no sense except as a metaphor. The social layout of Divergent was supposedly devised so as to maintain peace, but putting people into airtight factions guarantees conflict.
    • 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.
    • 51 Metascore
    • 50 Mick LaSalle
    The film is always a little bit at a distance, almost involving, always good enough to make us root for it, but rarely better than average.
    • 70 Metascore
    • 50 Mick LaSalle
    Has the usual overlong running time, the half-hearted feints in the direction of human feeling and the obligatory action sequences that are big without being either exciting or particularly legible.
    • 78 Metascore
    • 50 Mick LaSalle
    Under the Skin can be confused for a movie that hides its meanings, when it's really a movie that hides its meaninglessness.
    • 44 Metascore
    • 50 Mick LaSalle
    Some of that emotion inevitably makes its way into our perception of the film, which elevates it somewhat, but only to the level of mediocrity.
    • 58 Metascore
    • 50 Mick LaSalle
    The movie is a fantasy, and the choice is either share the fantasy or don't participate.
    • 62 Metascore
    • 50 Mick LaSalle
    What's particularly weird about Godzilla is that for long stretches, all it shows is destruction.
    • 56 Metascore
    • 50 Mick LaSalle
    How could a little story like this get stretched to 124 minutes? It's at least 30 minutes too long.
    • 69 Metascore
    • 50 Mick LaSalle
    Nothing in the story feels specific to that California city, or emblematic of it.
    • 49 Metascore
    • 50 Mick LaSalle
    Audiences will walk away thinking, "What was that?" But they will walk away thinking.
    • 75 Metascore
    • 50 Mick LaSalle
    Night Moves, which shows her at her best and worst, also shows two roads, right and wrong, that Reichardt can choose to pursue. As someone who likes this filmmaker even when I don't like her movies, I hope she takes the harder road.
    • 64 Metascore
    • 50 Mick LaSalle
    Best of all is the work of Gillian Jones, who shows up in one scene as "Grandma."
    • 79 Metascore
    • 50 Mick LaSalle
    If you see the movie, notice how the ending is no ending, and the fact that it even feels like one is entirely a function of Michael Giacchino's musical score.
    • 60 Metascore
    • 50 Mick LaSalle
    Segerstedt's anti-Nazi stand is the only reason to be interested in him, and yet half the movie is about his domestic life.
    • 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.
    • 38 Metascore
    • 50 Mick LaSalle
    A little too corny to endorse fully, but no one should be discouraged from seeing it.
    • 73 Metascore
    • 50 Mick LaSalle
    Now, thanks to A Most Wanted Man, we discover that it's really boring - practically sleep-inducing - to be an international spy.
    • 57 Metascore
    • 50 Mick LaSalle
    I Origins is at its best when it's a personal story about relationships, and it has a strong first hour.
    • 76 Metascore
    • 50 Mick LaSalle
    Guardians of the Galaxy is pretty much where action movies are these days - a combination of comedy without wit, action without drama and elaborate visuals that are nothing much to look at.
    • 71 Metascore
    • 50 Mick LaSalle
    This is all good movie material, so far as it goes ... but Get on Up can't go any further. Sometimes damaged people stay damaged, and sometimes popular artists make their contribution and then stay in one place forever. It's a big letdown for everybody, but in a biopic, it's poison.
    • 63 Metascore
    • 50 Mick LaSalle
    In many ways a beautiful movie, and yet in other ways it’s not very good at all. As an achievement in stop-motion animation, it’s stunning — seamless and detailed, so perfectly done that it’s easy to forget that you’re witnessing skill and not magic.
    • 44 Metascore
    • 50 Mick LaSalle
    Two Night Stand has its moments. But moments are all this movie has — and all its characters are likely to get.
    • 66 Metascore
    • 50 Mick LaSalle
    In making the movie, writer-director John Ridley had to negotiate with the Hendrix legend — that is, reality had to accommodate audience expectation. In that sense, Jimi: All Is by My Side does a reasonable job.
    • 59 Metascore
    • 50 Mick LaSalle
    Alien 3 is pretentious and gimmicky by turns, resorting at times to silly B-movie tricks that undercut its seriousness and moments that can be anticipated from a mile off. [22 May 1992, P.D1]
    • San Francisco Chronicle
    • 77 Metascore
    • 50 Mick LaSalle
    Abuse of Weakness is 20 minutes of a great movie and another 85 minutes of nothing much.
    • 60 Metascore
    • 50 Mick LaSalle
    In his performance, Jeremy Renner hints at something dark stirring beneath Webb’s surface, but it never quite comes out, and we’re left with something more on the order of a rough-hewn saint. Kill the Messenger tells an interesting tale, but it’s caught in an odd zone between too-Hollywood and not Hollywood enough.
    • 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.