For 2,131 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 1.2 points higher than other critics. (0-100 point scale)

Mick LaSalle's Scores

  • Movies
Average review score: 60
Highest review score: 100 Chaos
Lowest review score: 0 Swept Away
Score distribution:
2,131 movie reviews
    • 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]
    • 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.
    • 43 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]
    • 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.
    • 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.
    • 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]
    • 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.
    • 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.
    • 37 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.
    • 79 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.
    • 39 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.
    • 80 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.
    • 80 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.
    • 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.
    • 42 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.
    • 45 Metascore
    • 25 Mick LaSalle
    Spins an unconvincing, miscast noir tale.
    • 40 Metascore
    • 25 Mick LaSalle
    A movie like this depends on clever bits and incidents, but there's little invention here to disguise the film's formulaic nature.
    • 36 Metascore
    • 25 Mick LaSalle
    Has a vacant, inept, why-oh-why feeling from its opening minutes and only gets worse.
    • 37 Metascore
    • 25 Mick LaSalle
    The movie's most inexcusable failing is that, despite all the flashbacks, we never get a sense of what this relationship was like when it worked.
    • 10 Metascore
    • 25 Mick LaSalle
    Ugly. ..and unpleasant -- and clueless on a grand scale.
    • 33 Metascore
    • 25 Mick LaSalle
    Father-daughter relationship lacks impact.
    • 48 Metascore
    • 25 Mick LaSalle
    The film is like watching a very bad play as presented by a very bad director.
    • 35 Metascore
    • 25 Mick LaSalle
    Williamson's script, which he also directed, is spiteful and shallow.
    • 73 Metascore
    • 25 Mick LaSalle
    The movie suffers from two fatal ailments -- a dearth of vitality and a story that's shapeless and uninflected.
    • 62 Metascore
    • 25 Mick LaSalle
    It tries to get by on charm. It doesn't.
    • 29 Metascore
    • 25 Mick LaSalle
    We all know how actors overact when they play Italians, and we all know how actors overact when they play brain-damaged characters, so just imagine Knight's performance as a brain-damaged Italian American.
    • 49 Metascore
    • 25 Mick LaSalle
    Behind Enemy Lines has a wretched script and a director (first-timer John Moore) who either has no taste or doesn't know what he's doing.
    • 35 Metascore
    • 25 Mick LaSalle
    A stink bomb of a movie.
    • 30 Metascore
    • 25 Mick LaSalle
    Neither original nor presented in a convincing way.
    • 37 Metascore
    • 25 Mick LaSalle
    Has many grotesque sex scenes, interspersed with sights of Chong rambling in a dissociated way as she sits in her squalid apartment.
    • 49 Metascore
    • 25 Mick LaSalle
    A whimsical modern fairy tale.
    • 44 Metascore
    • 25 Mick LaSalle
    One pities poor Molly Parker, a fine actress who was somehow persuaded to disrobe for this degrading and dispiriting Wayne Wang film.
    • 70 Metascore
    • 25 Mick LaSalle
    It wimped out by blanding down the story and the characters to the point where she isn't really a shrew and he isn't really a maniac.
    • 31 Metascore
    • 25 Mick LaSalle
    It's hard to tell if Cage's performance is a grand stab at all-out, no-holds-barred comic acting or one of the worst dramatic performances in a film this year. [2 June 1989, Daily Datebook, p.E8]
    • 73 Metascore
    • 25 Mick LaSalle
    It will bring joy in a way certainly not intended, as one of the most gloriously and unwittingly silly films ever devised by a major American filmmaker.
    • 54 Metascore
    • 25 Mick LaSalle
    The effect of the 2 1/2-hour film is deadening.
    • 51 Metascore
    • 25 Mick LaSalle
    It's one of those self-consciously cute pictures, about as hard to take as a person who stands in front of a mirror and preens all day. [23 Mar 1990, Daily Datebook, p.E1]
    • 56 Metascore
    • 25 Mick LaSalle
    The picture, for all its slickness and style, is empty, empty-headed and emotionally false… [It] has no more depth than "Pretty Woman" and occupies the same moral landscape. [5 Apr 1991, Daily Datebook, p.E11]
    • 65 Metascore
    • 25 Mick LaSalle
    Goes nowhere.
    • 17 Metascore
    • 25 Mick LaSalle
    Just awful… There is probably not one interrupted 60-second stretch in which a line of dialogue doesn't clunk, an action doesn't ring false or an irritating plot turn doesn't present itself. [25 May 1991]
    • 26 Metascore
    • 25 Mick LaSalle
    Just awful. But uniquely awful -- awful in a way that might just attract a cult audience. [3 Sept 1993]
    • 34 Metascore
    • 25 Mick LaSalle
    With most movies that fail, the fault can be ascribed to carelessness or lack or inspiration or cynicism. But Chelsea Walls, directed by actor Ethan Hawke, is clearly a labor of love.
    • 12 Metascore
    • 25 Mick LaSalle
    A discordant comedy that gives bad taste a bad name.
    • 58 Metascore
    • 25 Mick LaSalle
    A noble attempt that doesn't hang together.
    • 44 Metascore
    • 25 Mick LaSalle
    A repellent, stupid film.
    • 67 Metascore
    • 25 Mick LaSalle
    There's a lot of bad hair and incoherent, drug-addled remarks, but inside a minute we get the joke, and it isn't much.
    • 27 Metascore
    • 25 Mick LaSalle
    An awkward comedy made surprisingly bearable, most of the way, by one actress' ability to turn on the charm and sparkle.
    • 61 Metascore
    • 25 Mick LaSalle
    The movie's promise -- to provide a balanced argument -- goes unrealized, and all we're left with is the spectacle of an idiot bullying a genius.
    • 25 Metascore
    • 25 Mick LaSalle
    A funny comedy for about 90 seconds. Then Bette Midler goes off a cliff.
    • 65 Metascore
    • 25 Mick LaSalle
    An overwrought drama.
    • 43 Metascore
    • 25 Mick LaSalle
    No longer fresh -- though that's to be expected in a sequel -- it contains none of the virtues that made the first one anarchic and original.
    • 65 Metascore
    • 25 Mick LaSalle
    A film with no theatrical core and no integrity in the writing, acting or storytelling.
    • 72 Metascore
    • 25 Mick LaSalle
    Mean-spirited and not remotely clever, though it strives for archness at every turn.
    • 49 Metascore
    • 25 Mick LaSalle
    A sour misfire.
    • 63 Metascore
    • 25 Mick LaSalle
    It provokes nothing but yawns, and the sex it explores is stuff everybody knows about and says, "So what?"
    • 59 Metascore
    • 25 Mick LaSalle
    Promised to be the season's thoughtful action picture, turns out to have few thoughts and no thrills.
    • 74 Metascore
    • 25 Mick LaSalle
    Great to look at but not much fun to watch… An emotionally uncommitted picture that's smirky and mawkish, by turns, and at heart, empty. [14 Dec 1990, Daily Datebook, p.E1]
    • 32 Metascore
    • 25 Mick LaSalle
    An overblown action monstrosity with no surprises, no exhilaration and no thrills.
    • 53 Metascore
    • 25 Mick LaSalle
    In an attempt to be complex and fair-minded, a simple story becomes a jumble of confused motivations.
    • 35 Metascore
    • 25 Mick LaSalle
    Could hardly be called a success -- it's rather a likable disaster.
    • 60 Metascore
    • 25 Mick LaSalle
    The result is a frustrating, boring mess.
    • 37 Metascore
    • 25 Mick LaSalle
    It's a big disappointment.
    • 40 Metascore
    • 25 Mick LaSalle
    Maybe there's a metaphor here, but figuring it out wouldn't make Trouble Every Day any better.
    • 27 Metascore
    • 25 Mick LaSalle
    A childish, empty effort.
    • 67 Metascore
    • 25 Mick LaSalle
    It's two hours of your life wasted, time once spent that can never be regained. Don't go. Don't do it. [30 Mar 1988]
    • 26 Metascore
    • 25 Mick LaSalle
    Has to go down as a failed comedy. It's just not enough of a comedy.
    • 52 Metascore
    • 25 Mick LaSalle
    An utter debacle.
    • 19 Metascore
    • 25 Mick LaSalle
    To call this effort misguided would be kind. The job this "prequel" does on the original Dumb and Dumber is the movie equivalent of surgery that removes all the vital organs and then gives the patient a prosthetic third arm. What's needed isn't there, and what's here we don't need.
    • 21 Metascore
    • 25 Mick LaSalle
    While the plot is worthless and the battle scenes cheap-looking and unengrossing, Wing Commander has clearly defined characters and relationships. In other words, the film's young actors have nothing interesting to say, but they say it well.
    • 70 Metascore
    • 25 Mick LaSalle
    Liotta's acting can't redeem senseless violence.
    • 32 Metascore
    • 25 Mick LaSalle
    Nothing but a showcase for the inherent comedic gifts of Cameron Diaz. The problem is she doesn't have any.
    • 32 Metascore
    • 25 Mick LaSalle
    It's a romantic comedy with insights into sex and relationships that are old and obvious.
    • 25 Metascore
    • 25 Mick LaSalle
    What we have is the case of a movie with a straight man (Jason Lee) who really is funny, but with a comic (Tom Green) who sadly isn't.
    • 14 Metascore
    • 25 Mick LaSalle
    The audience has already checked out, long before the formulaic finish.
    • 68 Metascore
    • 25 Mick LaSalle
    The movie is overplotted, a soulless maze of special effects and relentless action.
    • 65 Metascore
    • 25 Mick LaSalle
    By the end A.I. exhibits all its creators' bad traits and none of the good. So we end up with the structureless, meandering, slow-motion endlessness of Kubrick combined with the fuzzy, cuddly mindlessness of Spielberg.
    • 41 Metascore
    • 25 Mick LaSalle
    All the movie's narrative gymnastics can't disguise the fact that it's inauthentic at its core and that its story just isn't worth telling.
    • 23 Metascore
    • 25 Mick LaSalle
    Falls apart immediately, then limps on for 45 minutes more.
    • 42 Metascore
    • 25 Mick LaSalle
    An action blockbuster that's one of the biggest misfires in its genre since "Godzilla."
    • 64 Metascore
    • 25 Mick LaSalle
    Midway, Mondays in the Sun becomes as dull as a day with nothing to do.
    • 45 Metascore
    • 25 Mick LaSalle
    SWAT is better than "Gigli," but so is most outpatient surgery.
    • 40 Metascore
    • 25 Mick LaSalle
    Friedkin is steeped in gore, like some cinematic Macbeth, and it's obscuring his artistic vision.
    • 53 Metascore
    • 25 Mick LaSalle
    The moments of action are interspersed with lengthy plot developments that are hard to follow.
    • 27 Metascore
    • 25 Mick LaSalle
    Harmon proves that he can act stupid, and that's not enough to make the movie funny… You're supposed to like Freddy (Harmon), and you're supposed to like his brainless students… But you hate everybody. [24 July 1987]
    • 27 Metascore
    • 25 Mick LaSalle
    It's as close to nothing as anything could be while still being something.
    • 19 Metascore
    • 25 Mick LaSalle
    Why was the sight of scrawny Woody Allen kissing pretty Diane Keaton never revolting, while scrawny David Spade kissing beautiful Sophie Marceau in Lost & Found is the creepiest cinematic sight of the year?
    • 33 Metascore
    • 25 Mick LaSalle
    These are good moments, and there are a few others, that prevent Tomb Raider from being one of the worst films of the year. But they're not enough to make it worth seeing.
    • 12 Metascore
    • 25 Mick LaSalle
    At times, it actually hurts to watch.
    • 23 Metascore
    • 25 Mick LaSalle
    About as weak a movie as can be made without actively trying.
    • 59 Metascore
    • 25 Mick LaSalle
    Convoluted.
    • 65 Metascore
    • 25 Mick LaSalle
    A ponderous and dreadful film.
    • 30 Metascore
    • 25 Mick LaSalle
    It's a plodding, episodic film, reverent and sanctimonious, and its pro-Southern viewpoint -- a time-honored Hollywood tendency -- makes "Gone With the Wind" look like a Northern polemic.