For 2,299 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 Waitress
Lowest review score: 0 Marcel Proust's Time Regained
Score distribution:
2,299 movie reviews
    • 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.
    • 45 Metascore
    • 50 Mick LaSalle
    That gift doesn't desert him [Crowe] in Elizabethtown, but he clutters his movie with plot elements that confuse the focus, the central character and, ultimately, I suspect, Crowe himself.
    • 26 Metascore
    • 50 Mick LaSalle
    This is a pretty good action movie with the added kick of Liam Neeson in the lead role.
    • 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.
    • 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.
    • 52 Metascore
    • 50 Mick LaSalle
    The result is a mishmash that is sometimes moving, sometimes absurd and most of the time just oddly off balance.
    • 43 Metascore
    • 50 Mick LaSalle
    It's not just that Pitt's performance is bad. It hurts.
    • 55 Metascore
    • 50 Mick LaSalle
    Its weaknesses are clumsy plotting and a less-than-satisfying ending.
    • 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.
    • 62 Metascore
    • 50 Mick LaSalle
    The movie has finesse, and the actors have charm, but there are no surprises.
    • 50 Metascore
    • 50 Mick LaSalle
    Begins like a penetrating exploration of love, grief and suffering and ends looking like a highbrow version of "Bride of Chucky."
    • 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.
    • 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.
    • 13 Metascore
    • 50 Mick LaSalle
    Will you find yourself wishing you were looking at someone else? Not really.
    • 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.
    • 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.
    • 57 Metascore
    • 50 Mick LaSalle
    Horrible Bosses has a handful of hilarious moments, but it's not exactly funny and not exactly serious, either.
    • 34 Metascore
    • 50 Mick LaSalle
    The strange case of a movie that clunks in every possible way but the ultimate way -- it entertains.
    • 50 Metascore
    • 50 Mick LaSalle
    We are aware going in that Varsity Blues' cannot be a landmark of world cinema. Yet working within the tired formula, the picture turns out to be not so bad.
    • 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.
    • 56 Metascore
    • 50 Mick LaSalle
    Gooding can't will this well-meaning film into life.
    • 47 Metascore
    • 50 Mick LaSalle
    The new film's social message comes through loud and clear, but something in the comedy seems constrained -- effortful, yet muffled. It might be a matter of the right tone never having been found.
    • 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.
    • 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
    • 42 Metascore
    • 50 Mick LaSalle
    The Lovely Bones is difficult viewing, a meticulously crafted experiment that, it turns out, wasn't worth it.
    • 30 Metascore
    • 50 Mick LaSalle
    Just like a low-budget football comedy, only with money.
    • 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.
    • 29 Metascore
    • 50 Mick LaSalle
    A respectable and fairly decent movie.
    • 53 Metascore
    • 50 Mick LaSalle
    When Costner is good, as he is here, his acting has a purity to it, an unspoken moral dimension. Underneath the sensitive, stoic facade is a loquacious, intellectually alert actor with an encyclopedic understanding of the film tradition he occupies: the rugged, humble movie hero, embodied by the likes of Gary Cooper and Henry Fonda.
    • 69 Metascore
    • 50 Mick LaSalle
    If the movie has a weakness, it’s that Zohar gets the most screen time, though she’s the least engaging character.
    • 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.
    • 47 Metascore
    • 50 Mick LaSalle
    Whenever the movie's point of view turns omniscient, and we're seeing events from the director's vantage point, Man on Fire becomes a blurry, shaky mess.
    • 69 Metascore
    • 50 Mick LaSalle
    Yet it fails to enchant for a reason that might not be fair, but that's just how it is: We've seen outer space simulated so well in sci-fi movies that the real thing seems like old stuff.
    • 76 Metascore
    • 50 Mick LaSalle
    The most Stillmanesque Stillman movie yet. It's about a mood, part wistful, part sardonic. It's about a time of life, about repartee, about the vivid character saying the unexpected thing.
    • 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.
    • 40 Metascore
    • 50 Mick LaSalle
    The pure mechanics of Here Comes the Boom land it in an enjoyable, if forgettable, space.
    • 60 Metascore
    • 50 Mick LaSalle
    The movie's storytelling is limp, and writer-director Neil Burger's ultimate unwillingness to commit to a point of view -- was this guy really the assassin? -- seems artistically chicken-hearted.
    • 64 Metascore
    • 50 Mick LaSalle
    The problem on which the movie turns is this: Bill Murray’s natural quality as an actor exudes self-knowledge and knowledge of the world. If he looks depressed, the aura suggests, it’s not because he knows less than we do. He knows more. Murray brings that quality to bear in St. Vincent, but it doesn’t fit.
    • 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.
    • 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.
    • 50 Metascore
    • 50 Mick LaSalle
    Exciting and nerve-racking in the moment, but empty.
    • 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.
    • 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.
    • 55 Metascore
    • 50 Mick LaSalle
    Yes, the movie's watchable, and there are about six good laughs in it, but six good (not great) laughs in 90 minutes is pretty paltry for a comedy.
    • 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.
    • 58 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.
    • 69 Metascore
    • 50 Mick LaSalle
    Live Flesh lacks freshness.
    • 50 Metascore
    • 50 Mick LaSalle
    A near miss, a respectable but uninspired thriller that's intelligent and considered in its details, but ultimately weak in its impact.
    • 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.
    • 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.
    • 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.
    • 83 Metascore
    • 50 Mick LaSalle
    A corny, overblown romance, and while it eventually wins you over with its atmosphere and good nature, it's far from the masterpiece you've been hearing about. [15 Jan 1988]
    • San Francisco Chronicle
    • 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.
    • 38 Metascore
    • 50 Mick LaSalle
    Just too much of a mediocre thing. It didn't have to be that way.
    • 67 Metascore
    • 50 Mick LaSalle
    The first Russian musical in more than 50 years, Hipsters is appreciated best as a curiosity.
    • 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.
    • 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.
    • 59 Metascore
    • 50 Mick LaSalle
    Benigni sets out to do the impossible.
    • 63 Metascore
    • 50 Mick LaSalle
    The result is schizophrenic, an uplifting film that's truly depressing, a movie about cruelty that tries to be fluffy.
    • 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.
    • 64 Metascore
    • 50 Mick LaSalle
    The pace is slow and the story neither takes off nor arrives anywhere.
    • 31 Metascore
    • 50 Mick LaSalle
    The result is a film that's far superior to Neil LaBute's "Your Friends and Neighbors'' and more entertaining than Todd Solondz's "Happiness.''
    • 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.
    • 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.
    • 46 Metascore
    • 50 Mick LaSalle
    It's all swell, though after two hours of nonstop yin energy, one does begin to wish that someone like Bruce Willis might show up in a sweaty T-shirt, scratching himself.
    • tbd Metascore
    • 50 Mick LaSalle
    Light entertainment that doesn't quite work. The film has too many scenes that meander, and the picture's offhandedness begins to seem less like clumsy charm and more like pointless vamping.
    • 56 Metascore
    • 50 Mick LaSalle
    The story, like the protagonist, floats along in a noodly sort of way, intelligent, benign and ineffectual.
    • 25 Metascore
    • 50 Mick LaSalle
    Meandering and inert. Yet as an etching of an emotion and a vehicle for Costner, the movie makes a case for itself.
    • 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.
    • 42 Metascore
    • 50 Mick LaSalle
    Low-budget, oddly cast and strictly indie all the way.
    • 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.
    • 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.
    • 55 Metascore
    • 50 Mick LaSalle
    With its fake-looking technology and empty characters, Volcano eventually becomes as obvious as its what-if premise.
    • 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
    • 61 Metascore
    • 50 Mick LaSalle
    By the standards of most IMAX films, this is a bizarre entry, a documentary about bugs that was produced by Terminix, the pest control company.
    • 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."
    • 37 Metascore
    • 50 Mick LaSalle
    Trespass never advances beyond being a grand manipulation.
    • 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.
    • 65 Metascore
    • 50 Mick LaSalle
    It's the supporting players who stand out.
    • 52 Metascore
    • 50 Mick LaSalle
    Isn't all bad. It isn't good, either, but it's better than it deserves to be, and if one sits and watches, the laughs do come, a few.
    • 57 Metascore
    • 50 Mick LaSalle
    Traveller is entertaining in a mild, relaxing way.
    • 46 Metascore
    • 50 Mick LaSalle
    The result is that a story with a couple of good ideas founders for lack of a third or fourth good idea. Still, any picture that features Radcliffe having a nervous breakdown for two hours has something to recommend it.
    • 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.
    • 52 Metascore
    • 50 Mick LaSalle
    If The Next Three Days were just a little more mindless, it might have been more joyful.
    • 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.
    • 78 Metascore
    • 50 Mick LaSalle
    Though I wish Please Give were a little better, there aren't enough American movies like it.
    • 39 Metascore
    • 50 Mick LaSalle
    Stays emotionally mired because of a static screenplay that fails to express its issues dramatically.
    • 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.
    • 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
    • 36 Metascore
    • 50 Mick LaSalle
    It's made by a director who knows comedy, working from a script founded on a surefire slapstick premise.
    • 18 Metascore
    • 50 Mick LaSalle
    Valentine isn't scary, but it is unsettling; not ultimately satisfying, but arresting in the moment.
    • 43 Metascore
    • 50 Mick LaSalle
    A melodrama about three cliches in search of a bloodbath.
    • 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.
    • 60 Metascore
    • 50 Mick LaSalle
    There's valuable information here and some human stories that deserve to be heard.
    • 56 Metascore
    • 50 Mick LaSalle
    A romantic comedy that flirts with something serious but never gets past the flirting stage.
    • 57 Metascore
    • 50 Mick LaSalle
    Army of Darkness has good moments and shows traces of wit right up to the end, though these moments wind up coming fewer and farther between. [19 Feb 1993, Daily Datebook, p.D1]
    • San Francisco Chronicle
    • 60 Metascore
    • 50 Mick LaSalle
    When Bertolucci points his camera out a window, it's like putting on your glasses. Everything is lush, drenched in color and right there for you to touch.
    • 51 Metascore
    • 50 Mick LaSalle
    At heart, ridiculous -- ludicrous in its conception and silly in its spectacle.
    • 62 Metascore
    • 50 Mick LaSalle
    Law often looks angry and frazzled onscreen. This time he looks angry and sure of himself.
    • 28 Metascore
    • 50 Mick LaSalle
    It's the lightest of the Batman movies, the most cartoony, the dumbest and the least ambitious. But it holds the audience's attention, brings on a few laughs and never really gets boring.
    • 77 Metascore
    • 50 Mick LaSalle
    Abuse of Weakness is 20 minutes of a great movie and another 85 minutes of nothing much.
    • 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.
    • 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.
    • 91 Metascore
    • 50 Mick LaSalle
    It's an endurance test. Though never boring, the movie is a fairly long slog through the snow.
    • 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.
    • 47 Metascore
    • 50 Mick LaSalle
    The laughs do come, but not as readily, not as heartily and not as joyfully as you might expect.
    • 23 Metascore
    • 50 Mick LaSalle
    Though the Jill problem is too insurmountable to ignore, almost everything else in this comedy succeeds.
    • 73 Metascore
    • 50 Mick LaSalle
    Almost everything that made "The Bourne Identity" refreshing -- the wit, the irony, the suspense, the novelty of its premise -- is gone in The Bourne Supremacy, and what's left is the spectacle of Matt Damon, with perfect posture and senses primed like a cat, making his way through a routine action thriller.
    • 47 Metascore
    • 50 Mick LaSalle
    It seems naive, almost delusional.
    • 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.
    • 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.
    • 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.
    • 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.
    • 50 Metascore
    • 50 Mick LaSalle
    There's nothing about this thriller to prevent it from soon becoming enmeshed in the memory with others in which Michael Douglas wears a starched collar and grits his teeth.
    • 68 Metascore
    • 50 Mick LaSalle
    At its best, Mermin -- who used an all-female crew -- conveys the sense of an entirely feminine world being created under the beauty school roof, and it's refreshing.
    • 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.
    • 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.
    • 26 Metascore
    • 50 Mick LaSalle
    It's entertainment, but mild entertainment.
    • 45 Metascore
    • 50 Mick LaSalle
    There's a spark missing, and where it's missing is in Roberts' conscientious but all too reserved performance.
    • 54 Metascore
    • 50 Mick LaSalle
    It demonstrates a filmmaker in complete command of his craft and with little control over his impulses.
    • 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.
    • 34 Metascore
    • 50 Mick LaSalle
    Just not worth revisiting, unless one wants to tie one's brain into a knot for no discernible reward.
    • 58 Metascore
    • 50 Mick LaSalle
    Almost as mindless as "Fantastic Four," but more annoying in that this one has philosophical pretensions.
    • 56 Metascore
    • 50 Mick LaSalle
    Never rises above the level of its gimmick.
    • 59 Metascore
    • 50 Mick LaSalle
    It's a movie about an idiot in the grip of something common place. He starts off as a garden-variety idiot and progresses to a big idiot.
    • 48 Metascore
    • 50 Mick LaSalle
    Suffers from the bloat common to sequels.
    • 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.
    • 33 Metascore
    • 50 Mick LaSalle
    There's a psychological undercurrent. The movie occupies a zone where science fiction and nightmares collide and intertwine.
    • 42 Metascore
    • 50 Mick LaSalle
    This vaguely funny film is also the saddest and most depressing movie of 2013.
    • San Francisco Chronicle
    • 49 Metascore
    • 50 Mick LaSalle
    A perfectly OK drama, with a good cast and many good scenes, but it suffers from the usual maladies that films get when they've been out on the ranch too long: all-too-obvious symbolism and a serious case of the longueurs.
    • 53 Metascore
    • 50 Mick LaSalle
    Lucas knows his fans are un-boreable, un-annoyable and inexhaustible. For an artist, that's more a curse than a blessing.
    • 64 Metascore
    • 50 Mick LaSalle
    The thinking part of this thriller needs work. It's not nearly as intelligent, thoughtful or penetrating as it promises to be.
    • 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.
    • 27 Metascore
    • 50 Mick LaSalle
    How one likes Taxi has everything to do with how one responds to the hapless cop character, played by Jimmy Fallon.
    • 48 Metascore
    • 50 Mick LaSalle
    Divine cast keeps 'Ya-Ya Sisterhood' from falling flat
    • 45 Metascore
    • 50 Mick LaSalle
    Yet there's no getting around one awkward fact. The picture, which turns on a cataclysmic act of terrorism within U.S. borders, was made for a different audience from the one that's about to see it.
    • 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.
    • 62 Metascore
    • 50 Mick LaSalle
    What's particularly weird about Godzilla is that for long stretches, all it shows is destruction.
    • 48 Metascore
    • 50 Mick LaSalle
    Pleasing but routine British comedy.
    • 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.
    • 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.
    • 70 Metascore
    • 50 Mick LaSalle
    Young Benny has a nice smile, and she and Jack seem like pleasant people, but in the end (and in the beginning and in the middle) it's hard to get worked up about them.
    • 61 Metascore
    • 50 Mick LaSalle
    The results are mixed. Many of the films are too long, and even worse, the collection as a whole doesn't come to grips with the human scale of the tragedy.
    • 57 Metascore
    • 50 Mick LaSalle
    The film is engaging but also has a certain creaking familiarity.
    • 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.
    • 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.
    • 70 Metascore
    • 50 Mick LaSalle
    An intelligent movie that portrays the mighty without reverence.
    • 54 Metascore
    • 50 Mick LaSalle
    An American reissue, with a fresh new soundtrack and all the dialogue dubbed.
    • 54 Metascore
    • 50 Mick LaSalle
    Booty Call never quite gets tiresome, thanks to the appealing cast and its sexy-goofy spirit. The picture succeeds in finding jokes within jokes.
    • 56 Metascore
    • 50 Mick LaSalle
    It's really not bad... It's a genuine vault at greatness that misses the mark -- but survives.
    • 69 Metascore
    • 50 Mick LaSalle
    Nothing in the story feels specific to that California city, or emblematic of it.
    • 64 Metascore
    • 50 Mick LaSalle
    Within the realm of a mildly good time.
    • 55 Metascore
    • 50 Mick LaSalle
    Can't be dismissed. Yet something keeps this movie from being completely satisfying: a disconnect between the plot and the point.
    • 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.
    • 59 Metascore
    • 50 Mick LaSalle
    No doubt this seeming effortlessness was hard-won. Movies this smooth don't happen by accident.
    • 44 Metascore
    • 50 Mick LaSalle
    Pleasing and occasionally very funny movie that maintains a mild but consistent hold on its audience.
    • 41 Metascore
    • 50 Mick LaSalle
    An occasionally charming, sometimes amateurish film .
    • 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.
    • 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.
    • 48 Metascore
    • 50 Mick LaSalle
    Clearly, this is something rare: a movie that insulates itself against its own rottenness by being lousy by design.
    • 55 Metascore
    • 50 Mick LaSalle
    There's talent here, but for directing, not writing. If Ritchie wants to last, he's going to have to allow somebody else to write his screenplays.
    • 62 Metascore
    • 50 Mick LaSalle
    As a visit to a world and a way of life most of us will never experience, American History X is vivid, and it feels honest. At the very least, it's not typical.
    • 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.
    • 57 Metascore
    • 50 Mick LaSalle
    Starts off with a burst of energy but becomes tedious midway through.
    • 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.
    • 44 Metascore
    • 50 Mick LaSalle
    Has an oddness and whimsicality about it that can, at first, be confused for authenticity.
    • 65 Metascore
    • 50 Mick LaSalle
    In a blind taste test, I couldn't possibly have identified this as a Linklater movie, and he's a filmmaker I generally like. If anything, Bad News Bears shows that Linklater can get in and out of a movie like a cat burglar, without leaving his fingerprints anywhere. OK, he's proven it. He need never do that again.
    • 53 Metascore
    • 50 Mick LaSalle
    Amiable though slow-going.
    • 58 Metascore
    • 50 Mick LaSalle
    The movie is a fantasy, and the choice is either share the fantasy or don't participate.
    • 39 Metascore
    • 50 Mick LaSalle
    The action is difficult to follow.
    • 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.
    • 60 Metascore
    • 50 Mick LaSalle
    The people who made this film -- particularly the ones responsible for the story and the dialogue -- should look no further when trying to understand why In Her Shoes lands with such little impact. The characters seem authentic -- until the chick-flick template distorts them.
    • 76 Metascore
    • 50 Mick LaSalle
    The picture is a soggy, all-over-the- place mess.
    • 82 Metascore
    • 50 Mick LaSalle
    A fine ensemble piece, but a maddening and unjustified length.
    • 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
    There's no buildup and little shape. Scenes are strong, but the movie as a whole flags.
    • 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.
    • 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.
    • 58 Metascore
    • 50 Mick LaSalle
    Though Man on the Moon is lost when it comes to Kaufman's inner life and motivations, it offers a detailed account of his career.
    • 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.
    • 45 Metascore
    • 50 Mick LaSalle
    To put it simply, people may be right and people may be wrong, but there are no right races or wrong races. A writer-director who chooses to have characters representing race and not themselves alone paints himself into a corner in which everyone in the movie absolutely must come out all right.
    • 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.
    • 49 Metascore
    • 50 Mick LaSalle
    Its virtues can't outweigh the disappointment of a movie that might have been a rousing old-fashioned epic, or better yet a provocative reworking of an old epic, and instead became a muddle.
    • 89 Metascore
    • 50 Mick LaSalle
    It’s sincere and intelligent — but it’s weak as a social statement and even weaker as drama.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 46 Metascore
    • 50 Mick LaSalle
    Cusack should have been half the picture, but the screenplay keeps shoving him offstage for no good reason, and it's a mistake. One of many.
    • 59 Metascore
    • 50 Mick LaSalle
    Would have been a stronger movie if it didn't require a strong cup of coffee going in.
    • 77 Metascore
    • 50 Mick LaSalle
    The film is dreadfully slow without much in the way of rewards.
    • 45 Metascore
    • 50 Mick LaSalle
    As depicted here, the political story becomes convoluted and dramatically inert.
    • 58 Metascore
    • 50 Mick LaSalle
    Often the movie seems like a lot of empty-headed blather, with one side hating the First Amendment and the other side unable to find a better use for it but to say the f-word.
    • 77 Metascore
    • 50 Mick LaSalle
    Worthy but dull.
    • 62 Metascore
    • 50 Mick LaSalle
    Has warmth and integrity, but it lacks the urgency of a story that had to be told.
    • 51 Metascore
    • 50 Mick LaSalle
    Fails to engage.
    • 55 Metascore
    • 50 Mick LaSalle
    A creeping equanimity is taking over the work of John Sayles, a quality that in personal terms might be wise and coolheaded but in terms of drama is absolute death.
    • 68 Metascore
    • 50 Mick LaSalle
    Yet Apocalypto has to be respected for the sheer audacity of it, for the commitment and ambition behind it, and for its presentation of a complete other world. It is the furthest thing from a cynical or casual piece of work. It's crazy, and it moves.
    • 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.
    • 79 Metascore
    • 50 Mick LaSalle
    By the end, a sense settles in that Whale Rider could have accomplished as much -- and been considerably more powerful -- as a 25- minute short.
    • 56 Metascore
    • 50 Mick LaSalle
    Maher makes Michael Moore look incredibly likable in comparison.
    • 39 Metascore
    • 50 Mick LaSalle
    A clever, atmospheric romantic drama that lacks something.
    • 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.
    • 59 Metascore
    • 50 Mick LaSalle
    A so-so movie you just might want to see more than once. It belongs in a strange category: a film that can’t quite be called a success, that has too many dead spots, that doesn’t quite hang together or satisfy, and that yet is more interesting and occupies more space in the mind than other movies that are ostensibly and even unquestionably better.
    • 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
    • 45 Metascore
    • 50 Mick LaSalle
    Not for a minute is Mad City anything less than entertaining. Yet it becomes frustrating nonetheless. Its ideas gradually seem to be at cross-purposes -- not complex, not tantalizingly ambiguous, but tangled and undefined.
    • 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.
    • 49 Metascore
    • 50 Mick LaSalle
    Audiences will walk away thinking, "What was that?" But they will walk away thinking.
    • 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.
    • 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.
    • 27 Metascore
    • 50 Mick LaSalle
    Fascinating in its own strange way, not as entertainment but as a cultural document.
    • 61 Metascore
    • 50 Mick LaSalle
    Overlong, overplotted and underdrawn.
    • 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.
    • 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.
    • 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.
    • 49 Metascore
    • 50 Mick LaSalle
    It's just a simple thriller whose goal is little more than to keep moving.
    • 61 Metascore
    • 50 Mick LaSalle
    Just one big wipeout.
    • 57 Metascore
    • 50 Mick LaSalle
    The picture is willfully gross, fundamentally stupid and in no way worth the discomfort of watching it. Yet it may be the most well-crafted piece of garbage this year.
    • 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.
    • 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.
    • 56 Metascore
    • 50 Mick LaSalle
    There's something in Ned Kelly' that's lost in the translation from Australia to America, and the overly emotional film score is just a symptom.
    • 64 Metascore
    • 50 Mick LaSalle
    For the most part, it's fairly pleasant and interesting enough to be there.
    • 60 Metascore
    • 50 Mick LaSalle
    Woo's aggressive, cartoony attack in the film, which makes for its biggest delights, also wipes out whatever chance it might have had of making an emotional impact.
    • 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.
    • 32 Metascore
    • 50 Mick LaSalle
    Everything in the movie is suffused by a vision of life that is resoundingly and evidently false, but as this vision is not repulsive, but is intended to reassure, the lies don’t produce anger or frustration. No, they bring on the laughs.
    • 50 Metascore
    • 50 Mick LaSalle
    It has verve, color and energy, but there's something fundamentally bogus about it.
    • 65 Metascore
    • 50 Mick LaSalle
    Inventive and intermittently amusing.
    • 61 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.
    • 59 Metascore
    • 50 Mick LaSalle
    As Bilbo, Freeman is a pleasure to watch to the extent we get to watch him. His timing is brilliant — he gets the movie’s only laughs. He has tremendous sensitivity and an ability to seem like he’s about to say something — and then convey it without saying it. He could have made a great Bilbo. Instead he’s the one thing that has made this trilogy bearable.
    • 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.
    • 19 Metascore
    • 50 Mick LaSalle
    This is the weird thing, Old Dogs is not that bad.
    • 64 Metascore
    • 50 Mick LaSalle
    Clearly, an effort was made to create a serious, thoughtful movie.
    • 69 Metascore
    • 50 Mick LaSalle
    Long before the finish, Man From Reno has flat-lined.
    • 72 Metascore
    • 50 Mick LaSalle
    Heartfelt but somewhat bloated documentary that's partly an homage and partly a literary mystery.
    • 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.
    • 32 Metascore
    • 50 Mick LaSalle
    The film is fun and extreme, and though in the end rather pointless, there’s a certain audacity here — a delight in extremity — that’s appealing.
    • 52 Metascore
    • 50 Mick LaSalle
    If only the explanation and resolution of the action were more compelling, Dark Water might have been a thriller of the first order.
    • 62 Metascore
    • 50 Mick LaSalle
    The film is always at least mildly interesting, because international arms dealing is a fairly compelling issue, but it's never as informative as a good documentary nor as engrossing as a good narrative. It's a hybrid that's frustrating in two distinct ways.
    • 67 Metascore
    • 50 Mick LaSalle
    A frustrating film that feels cobbled together.
    • 45 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.
    • 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.
    • 51 Metascore
    • 50 Mick LaSalle
    The result is a movie that one watches with the sense of pushing it up a hill.
    • 66 Metascore
    • 50 Mick LaSalle
    An elegant-looking picture, carefully made and beautifully put together, but when the gloss wears off, you're left with an experience that doesn’t quite satisfy. [5 Oct 1990, Daily Datebook, E10]
    • San Francisco Chronicle
    • 58 Metascore
    • 50 Mick LaSalle
    It could have been something special, but two things drag it down to mediocrity -- director Clare Peploe's misunderstanding of Marivaux's rhythms, and Mira Sorvino's limitations as a classical actress.
    • 54 Metascore
    • 50 Mick LaSalle
    Too labored and cliched to incite passion in an audience.
    • 52 Metascore
    • 50 Mick LaSalle
    A film one watches at an emotional remove, but from that distance there are sights and moments to appreciate.
    • 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.
    • 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.
    • 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.
    • 45 Metascore
    • 50 Mick LaSalle
    A Cinderella story with star appeal going for it and everything else against it.
    • 63 Metascore
    • 50 Mick LaSalle
    Entertaining, but it's about one notch below being something anybody really needs to see.
    • 61 Metascore
    • 50 Mick LaSalle
    The terseness of Hosseini's prose has been replaced by the sentimentality of the director's approach.
    • 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.
    • 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.
    • 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.
    • 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.
    • 52 Metascore
    • 50 Mick LaSalle
    The movie is hampered throughout by little inconsistencies.
    • 46 Metascore
    • 50 Mick LaSalle
    The enormous, make-or-break things are perfectly in place, and just that is enough for a reasonably enjoyable movie. But plot problems, some comically weak dialogue, repetitious scenes and a non-ending ending keep the experience a little more earthbound than it had to be.
    • 36 Metascore
    • 50 Mick LaSalle
    Just another bloody cop thriller.
    • 59 Metascore
    • 50 Mick LaSalle
    The picture is also the story of one character in particular, Bobby, and when it comes to Bobby, A Home at the End of the World is sappy and bogus.
    • 66 Metascore
    • 50 Mick LaSalle
    A hit- and-miss affair, consistently amusing but not as outrageous or funny as Cho may have intended or as imaginative as one might have hoped.
    • 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.
    • 47 Metascore
    • 50 Mick LaSalle
    The acting is fine. The ensemble is strong. The story moves along. Yet a coating of sleaze clings to the film, like bread dipped in batter.
    • 70 Metascore
    • 50 Mick LaSalle
    A hit-and-miss affair, or, to be more precise, a miss (story one), hit (story two) and break even (story three) affair.
    • 50 Metascore
    • 50 Mick LaSalle
    The movie is just good enough to make us want more and to understand what's missing.
    • 64 Metascore
    • 50 Mick LaSalle
    Best of all is the work of Gillian Jones, who shows up in one scene as "Grandma."
    • 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.
    • 56 Metascore
    • 50 Mick LaSalle
    The opening is spectacular, but the rest is fairly routine.
    • 24 Metascore
    • 50 Mick LaSalle
    A disappointment, but it's not a disaster, and that's at least something.
    • 51 Metascore
    • 50 Mick LaSalle
    Despite some feints in a soulful direction, the picture has none of the interior quality of a multifaceted war film like Terrence Malick's "The Thin Red Line." Woo is all about elegant surfaces, not inner conflicts.
    • 54 Metascore
    • 50 Mick LaSalle
    More thoughtful and pleasing to the eye than any blockbuster in recent memory, but its epic length comes without an epic reward. It's a slow ride to the same old place, nonstop action, accelerating in scale, culminating in the smirking promise of a sequel.
    • 42 Metascore
    • 50 Mick LaSalle
    This is a monster movie -- 92 minutes, lots of action, lots of green legs stomping, get in, get out.
    • 43 Metascore
    • 50 Mick LaSalle
    Follows a predictable format.
    • 33 Metascore
    • 50 Mick LaSalle
    Mindhunters is as effective as a movie can be and yet still be 100 percent forgettable.
    • 13 Metascore
    • 50 Mick LaSalle
    Great trash, one of those mediocre movies that in its own crass way is more enjoyable than most things that get nominated for Oscars.
    • 69 Metascore
    • 50 Mick LaSalle
    In terms of story and emotional power, Brave comes up short.
    • 46 Metascore
    • 50 Mick LaSalle
    Even apart from the fact that it's not nearly funny enough, Bruce Almighty is a peculiar film.
    • 18 Metascore
    • 50 Mick LaSalle
    Perry isn't the only thing wrong with Serving Sara, but he's the thing that takes a pleasantly mediocre movie and turns it into an unpleasantly mediocre one.
    • 71 Metascore
    • 50 Mick LaSalle
    There's a dignity about it, and it's only later that we come to realize that this dignity is misplaced, born of a fatal reserve and a lack of complete investment.
    • 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
    • 66 Metascore
    • 50 Mick LaSalle
    Eye-catching and entertaining but less inspired than the original.
    • 38 Metascore
    • 50 Mick LaSalle
    A little too corny to endorse fully, but no one should be discouraged from seeing it.
    • 60 Metascore
    • 50 Mick LaSalle
    A pleasant enough "Crimes of the Heart" rip-off about three young women bumbling, stumbling and fumbling through life, looking for answers, smiling through tears, blah, blah, blah. [21 Oct 1988]
    • San Francisco Chronicle
    • 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
    • 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.
    • 48 Metascore
    • 50 Mick LaSalle
    An almost successful comedy.
    • 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.
    • 34 Metascore
    • 50 Mick LaSalle
    It is a boilerplate action comedy.
    • 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.
    • 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.
    • 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.
    • 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.
    • 67 Metascore
    • 50 Mick LaSalle
    A big fizzle.
    • 56 Metascore
    • 50 Mick LaSalle
    The movie is reasonably entertaining, though it helps to be 6 years old.
    • 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.
    • 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.

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