For 2,555 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 0.7 points lower than other critics. (0-100 point scale)

Mick LaSalle's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 The White Ribbon
Lowest review score: 0 AVP: Alien vs. Predator
Score distribution:
2555 movie reviews
    • 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
    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.
    • 48 Metascore
    • 50 Mick LaSalle
    What pushes it above mediocrity is that it ends better than it begins.
    • 32 Metascore
    • 50 Mick LaSalle
    A cute and amusing little romance that has all the fiery impetuosity of an egg sandwich.
    • 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.
    • 33 Metascore
    • 50 Mick LaSalle
    54
    Amusing and holds interest largely thanks to its re-creation of a glitzy, flamboyant era, not to mention its soundtrack of disco songs that sound a lot better today than 20 years ago.
    • 53 Metascore
    • 50 Mick LaSalle
    Never dull, but it's rarely more than gently entertaining.
    • 60 Metascore
    • 50 Mick LaSalle
    In his performance, Jeremy Renner hints at something dark stirring beneath Webb’s surface, but it never quite comes out, and we’re left with something more on the order of a rough-hewn saint. Kill the Messenger tells an interesting tale, but it’s caught in an odd zone between too-Hollywood and not Hollywood enough.
    • 69 Metascore
    • 50 Mick LaSalle
    The movie's effectiveness is distorted by its hero-worship of the Chicago defendants.
    • 64 Metascore
    • 50 Mick LaSalle
    The slow pace kills the sense of urgency, and the length and breadth of the film makes the story seem insignificant. Tarantino is still someone to watch, but Jackie Brown, before it's over, becomes a who-cares proposition.
    • 67 Metascore
    • 50 Mick LaSalle
    Precious and uninsightful but ends beautifully.
    • 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.
    • 45 Metascore
    • 50 Mick LaSalle
    Missing a purpose.
    • 67 Metascore
    • 50 Mick LaSalle
    It's an intelligent movie about economics. As such, it would probably make more sense to have it reviewed by economists than film critics.
    • 82 Metascore
    • 50 Mick LaSalle
    The story here isn't much, and the truth it reveals, to them and us, isn't earthshaking, just quiet and somber.
    • 54 Metascore
    • 50 Mick LaSalle
    Puccini for Beginners is literate and sensitive, characterized by witty dialogue and smart, emotional two-person encounters.
    • 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.
    • 34 Metascore
    • 50 Mick LaSalle
    Excess Baggage falls down as a showcase for Silverstone, who made a big splash in "Clueless" and whose production company is releasing this film. She comes across as unappealing and unseasoned in ways that go beyond the role.
    • 58 Metascore
    • 50 Mick LaSalle
    It tries to get by on charm, and like a lot of movies, and people who make that attempt, “Kingsman” does have charm — just not enough.
    • 40 Metascore
    • 50 Mick LaSalle
    No campy vampire movie, and the early part of the film is well-made enough that the sadness of Vlad’s dilemma is truly felt.
    • 90 Metascore
    • 50 Mick LaSalle
    Yet all this wit and effort and occasional beauty is in the service of a movie that is little more than a two-hour chase scene, one that seems founded on the assumption that if you show one set of people chasing another, that’s enough to get an audience excited: Oh, no, let’s hope they don’t get caught!
    • 51 Metascore
    • 50 Mick LaSalle
    Might have been more effective as a documentary.
    • 62 Metascore
    • 50 Mick LaSalle
    Contact, directed by Robert Zemeckis, may be too long, too self-important and too "Gump"-like to be completely satisfying. But it contains elements that are so striking they pretty much redeem the film.
    • 76 Metascore
    • 50 Mick LaSalle
    Until it becomes completely demented, The Guest is a perfectly respectable thriller, and even when it stops being respectable — even when it goes off the rails and becomes ridiculous — it’s still entertaining.
    • 58 Metascore
    • 50 Mick LaSalle
    Alas, Gainsbourg: A Heroic Life loses steam and grows more perfunctory as it wears on.
    • 32 Metascore
    • 50 Mick LaSalle
    This is just a slightly better than mediocre film with a disconcerting grasp of the truth.
    • 52 Metascore
    • 50 Mick LaSalle
    From scene to scene, the tone shifts from supposed sincerity to arch and amused, until the picture begins to seem like some mad, desperate, scattershot attempt to hold an audience's attention from moment to moment, by any means.
    • 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.
    • 29 Metascore
    • 50 Mick LaSalle
    Bleak.
    • 54 Metascore
    • 50 Mick LaSalle
    The saving grace of Old School is that it has about a dozen funny moments. These moments aren't mildly funny or chuckle funny but really funny.
    • 35 Metascore
    • 50 Mick LaSalle
    If the writing and direction carry Sphere most of the way, the actors manage to bring it home.
    • 53 Metascore
    • 50 Mick LaSalle
    At times, the sight of reserved English actors slapping, hugging and acting all Russian looks bizarre, though one casting choice is prime: Bob Hoskins has the ideal air of impish menace in the featured role of Khrushchev.
    • 43 Metascore
    • 50 Mick LaSalle
    A creditable genre entry, the rare action movie with a discernible story, an assured pace and a charismatic central character. It falls apart in the end.
    • 50 Metascore
    • 50 Mick LaSalle
    Painless and predictable, with an amusing if overwrought featured performance by Woody Harrelson.
    • 55 Metascore
    • 50 Mick LaSalle
    It's marred by loaded language and a propagandistic tone that undercuts rather than promotes its purposes.
    • 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.
    • 30 Metascore
    • 50 Mick LaSalle
    More hokey than heartfelt.
    • 75 Metascore
    • 50 Mick LaSalle
    It’s a nice movie, and perfectly watchable — yet it’s hard to escape the sense that it should have been more.
    • 35 Metascore
    • 50 Mick LaSalle
    A premise so rock-solid, so guaranteed to please, that it almost doesn't matter that the movie is otherwise a routine slasher, and not a particularly scary one.
    • 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.
    • 33 Metascore
    • 50 Mick LaSalle
    Not a campy film, but it revels in extremes, and has the same sort of appeal.
    • 63 Metascore
    • 50 Mick LaSalle
    Another urban action thriller that's better than some, worse than most and so forgettable that it's possible to forget it while watching it?
    • 60 Metascore
    • 50 Mick LaSalle
    Some so-so movies are just easy to be around, and this is one of them.
    • 45 Metascore
    • 50 Mick LaSalle
    Imagine watching Bergman's "Scenes From a Marriage," except without good scenes, without a marriage (legal or spiritual) and without people worthy of anybody's attention, even each other's. Now imagine something even worse.
    • 52 Metascore
    • 50 Mick LaSalle
    Competent but uninspired thriller.
    • 73 Metascore
    • 50 Mick LaSalle
    It's an ambitious film -- but also a scattered, unfocused one.
    • 56 Metascore
    • 50 Mick LaSalle
    The new movie lacks something, a special something. It's a quality that has characterized some of the best of the first 19 Bond movies: extravagant ludicrousness.
    • 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.
    • 32 Metascore
    • 50 Mick LaSalle
    A fairly mediocre film, not nearly as funny as it should be, nor as heartfelt. On the plus side, it's only 85 minutes long and isn't boring. On the downside, it has an intrusive pop soundtrack and a screenplay full of fake conflicts.
    • 74 Metascore
    • 50 Mick LaSalle
    The last hour of Titanic is huge and staggering, but there's no horror in it. No gravity, either. Entrusted with one of the century's monumental stories, Cameron can present it only as a crying shame. And that's a crying shame.
    • 45 Metascore
    • 50 Mick LaSalle
    All Upside Down has is its love story, which despite the undeniable appeal of Sturgess and Dunst, never ignites. So the movie is like a huge package, wrapped in gold leaf, but containing a 10-dollar toaster. Fine. It's a toaster. It works. It's not garbage. But who can pretend it's not a disappointment?
    • 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.
    • 64 Metascore
    • 50 Mick LaSalle
    Has some funny moments, and if you're a Beavis and Butt-head fan, you'll enjoy the movie.
    • 49 Metascore
    • 50 Mick LaSalle
    Burns has a hard time finding a central idea, some overall point that isn't borrowed or trite. Or both.
    • 76 Metascore
    • 50 Mick LaSalle
    Guardians of the Galaxy is pretty much where action movies are these days - a combination of comedy without wit, action without drama and elaborate visuals that are nothing much to look at.
    • 78 Metascore
    • 50 Mick LaSalle
    The actors do their best, particularly the impeccable Mirren, but Schepisi draws a shroud of chaste dullness over their scenes and lays on an energy- sapping score.
    • 46 Metascore
    • 50 Mick LaSalle
    A so-so, OK, perfectably acceptable, nice, rather charming romantic comedy with two stars who are entirely watchable.
    • 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.
    • 36 Metascore
    • 50 Mick LaSalle
    Even without surprises, or drama, or clever dialogue, or even a single scene of any merit, Rebound goes along pleasantly.
    • 44 Metascore
    • 50 Mick LaSalle
    An appealing film with a hideous title.
    • 49 Metascore
    • 50 Mick LaSalle
    The world of The Black Dahlia is beyond bleak, beyond film noir.
    • 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.
    • 51 Metascore
    • 50 Mick LaSalle
    They don't get more frustrating than American Rhapsody, a near-great film for about an hour that changes into a self-indulgent mess.
    • 55 Metascore
    • 50 Mick LaSalle
    Skids into absurdity, but it never quite gets boring. Movies like this rarely are.
    • 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?"
    • 35 Metascore
    • 50 Mick LaSalle
    The movie has that fatal triptych that is becoming Reiner's romantic-comedy signature: drippy sentiment, zany scenes that trivialize the characters and a horror of adventure.
    • 31 Metascore
    • 50 Mick LaSalle
    Taps into a fear hitherto unexplored by cinema: fear of Bill Gates.
    • 50 Metascore
    • 50 Mick LaSalle
    Though Carolla and co-filmmaker Kevin Hench devise some funny situations — particularly, the one in which a newly divorced woman insists on coming back to his room — the overall feeling that comes across is one of sadness, and that seems intentional.
    • 59 Metascore
    • 50 Mick LaSalle
    The biggest sequel of the summer has more dinosaurs, better special effects and more action than the original... But the inspiration is gone, and with it most of the fun.
    • 47 Metascore
    • 50 Mick LaSalle
    The story may be scattered and sagging and the picture may have little emotional impact -- certainly nothing to justify the epic running time -- but Garcia at least succeeds in making Havana in the 1950s seem like a vibrant, special place. He doesn't exactly make the audience care, but he does make the audience understand why he cares, and that's something.
    • 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.
    • 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.
    • 65 Metascore
    • 50 Mick LaSalle
    Jindabyne suffers from too many extraneous elements and from a story that doesn't land with enough force or purpose.
    • 51 Metascore
    • 50 Mick LaSalle
    An odd little concoction, a coming-of-age story that, only in passing, is also a mystery.
    • 81 Metascore
    • 50 Mick LaSalle
    The experience of watching Foxcatcher is of constantly waiting for something to happen — and of giving up, long before something actually does.
    • 48 Metascore
    • 50 Mick LaSalle
    21
    A movie with an irresistible premise that ultimately collapses around the whole issue of motivation. Until it does, this is a thoroughly entertaining picture.
    • 76 Metascore
    • 50 Mick LaSalle
    As a viewing experience, the film is by turns heartrending and stultifying, but mostly stultifying.
    • 52 Metascore
    • 50 Mick LaSalle
    It's middling Allen, which means that fans won't be sorry to see it, while everyone else can wait until the next "Bullets Over Broadway."
    • 55 Metascore
    • 50 Mick LaSalle
    The film's real find is D.J. Qualls, who is very funny as a jug-eared nerd who blossoms into a wild man after three days on the road.
    • 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.
    • 65 Metascore
    • 50 Mick LaSalle
    The film is mired in gloom, not just sadness, but heaviness.
    • 42 Metascore
    • 50 Mick LaSalle
    Emotionally false.
    • 57 Metascore
    • 50 Mick LaSalle
    Falls victim to a fatal lack of narrative drive, suspense and drama. Kidman and Hopkins are wrong for their roles, and that, combined with a pervading inevitability, cuts the film off from any sustained vitality. The result is something admirable but lifeless.
    • 66 Metascore
    • 50 Mick LaSalle
    A smirky cleverness infects much of the picture, yet some scenes are so skillfully created that it's hard not to admire them, and Dominique Pinon's sensitive performance as a retired circus man gives the movie a soul. [10 Apr 1992]
    • San Francisco Chronicle
    • 46 Metascore
    • 50 Mick LaSalle
    The movie is ridiculous.
    • 42 Metascore
    • 50 Mick LaSalle
    Insurgent would be a much worse movie if the good parts were all at the beginning. But they are saved for the end, and they leave the viewer with a feeling of, “Well, that was OK,” even though most of it wasn’t.
    • 33 Metascore
    • 50 Mick LaSalle
    It's not bad. It's cute.
    • 42 Metascore
    • 50 Mick LaSalle
    Succeeds in its modest way because its stars, Melissa Joan Hart and Adrian Grenier, are pleasant to be around.
    • 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.
    • 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.
    • 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.
    • 52 Metascore
    • 50 Mick LaSalle
    The comedy is hit and miss, with good bits interrupted by dead patches. It's a movie to root for more than to enjoy.
    • 49 Metascore
    • 50 Mick LaSalle
    Yet all this work, all this skill, serve as little more than an elaborate setting for a rhinestone. At its core there is no passion, no sincerity of conception, nothing that might have made The Quick and the Dead into anything more than moment-to-moment stimulation. You get lots of clothes here, but no emperor. Or rather, no empress.
    • 64 Metascore
    • 50 Mick LaSalle
    More emphasis on these darker, subterranean elements might have made for a fuller experience, but Infinitely Polar Bear is really all about a father as seen from a child’s perspective. It’s better than a scrapbook item, as in a film made to be appreciated by one family. But it’s not quite a successful movie.
    • 47 Metascore
    • 50 Mick LaSalle
    The result is a film that will probably please people already fascinated by Behan but leave everyone else yawning with admiration.
    • 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.
    • 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.
    • 56 Metascore
    • 50 Mick LaSalle
    The film never settles into an assured rhythm, and instead the actors always seem to be pushing, putting the hard sell on an audience that, however distracted by the strenuousness of the sales pitch, still isn't buying.
    • 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.
    • 60 Metascore
    • 50 Mick LaSalle
    Sober and dispiriting, tense and morose.
    • 69 Metascore
    • 50 Mick LaSalle
    The movie's strength is that it makes us want to know more about Levitch, and we pay attention as the tidbits are dropped -- that he's from a middle-class Jewish family in upstate New York, and that he did time in prison. The movie's flaw is that, having gained our attention, it fails to tell us what we want to know.
    • 41 Metascore
    • 50 Mick LaSalle
    A caper comedy with some definite problems.
    • 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.
    • 59 Metascore
    • 50 Mick LaSalle
    A self-conscious attempt at the brass ring.
    • 57 Metascore
    • 50 Mick LaSalle
    Monotonous.
    • 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.
    • 53 Metascore
    • 50 Mick LaSalle
    The only problem with The Better Angels is that it’s not nimble enough to vary its strategy or to find ways for the character of young Abe (Braydon Denney) to grow over the course of the movie.
    • 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.
    • 58 Metascore
    • 50 Mick LaSalle
    Has a certain B-movie integrity -- a muscular commitment to grabbing the viewer's eye and keeping things moving. It won't win any awards, but it holds interest.
    • 42 Metascore
    • 50 Mick LaSalle
    For all this, there is one unalloyed good thing to be said for High Tension. When all is said and done, it really does live up to its title. In every other way it's trash, but that truth-in-advertising aspect is a major weight to throw into the mix.
    • 43 Metascore
    • 50 Mick LaSalle
    The movie doesn't have three brain cells to rub together, but the premise carries it a long way.
    • 50 Metascore
    • 50 Mick LaSalle
    The real problem with True Story is contained in its title. The story isn’t too good to be true, but rather too true to be good.
    • 75 Metascore
    • 50 Mick LaSalle
    Alas, the main thing that comes through in Heaven Knows What is that a junkie’s life is really, really monotonous.
    • 82 Metascore
    • 50 Mick LaSalle
    Leaves an impression, while its specifics fade almost immediately.
    • 64 Metascore
    • 50 Mick LaSalle
    Either a go-for-broke action movie or a sick, sick movie for a sick, sick public.
    • 27 Metascore
    • 50 Mick LaSalle
    With a novel idea at its center and some good jokes scattered throughout, Pixels is a relief from the self-serious action films that invade movie theaters at this time of year. For most of the way, it’s good enough to enjoy, and for the rest of the way, it’s good enough to root for. But ultimately, it’s not quite good enough ... to be good enough.
    • 72 Metascore
    • 50 Mick LaSalle
    The movie consistently delivers in lots of little ways, but in a big way only once, in a spectacular sequence that begins with a series of earthquakes and culminates in an airline catastrophe.
    • 60 Metascore
    • 50 Mick LaSalle
    The audience is made to wait a long time for an ending that's not worth waiting for.
    • 73 Metascore
    • 50 Mick LaSalle
    The sentimentality overtakes Wonder Boys when, in the last half hour, it tries to make nice with its characters and fashion a deep message from a trivial story.
    • 36 Metascore
    • 50 Mick LaSalle
    Would be a completely routine horror movie, except that it has a superior director. Watch this film for five minutes, and it's clear that Victor Salva knows how to make movies.
    • 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.
    • 39 Metascore
    • 50 Mick LaSalle
    An exceptionally good movie in its first hour and an exceptionally bad one in its second.
    • 59 Metascore
    • 50 Mick LaSalle
    It's not all bad. It's just part bad: It suffers from cliches and corniness, from the same kinds of scenes played over and over, and from more false endings than the last "Lord of the Rings" movie.
    • 40 Metascore
    • 50 Mick LaSalle
    Too grotesque for children and just too silly for their parents.
    • 43 Metascore
    • 50 Mick LaSalle
    An earnest film, a well-acted film and, despite the presence of a star director, a generous film. As a director, McGregor is good to his co-stars and highlights them throughout. But the energy drops out of the last third of the picture, and takes with it much of its aura of importance.
    • 65 Metascore
    • 50 Mick LaSalle
    Whenever Roberts is onscreen, Closer freezes and starts to atrophy. And when she's off, tender shoots of life begin to sprout.
    • 81 Metascore
    • 50 Mick LaSalle
    We end up with a movie in which it becomes very possible to respect the intent and yet be frustrated by the result.
    • 73 Metascore
    • 50 Mick LaSalle
    The superhero part of the movie will leave audiences with a flat feeling, thanks to computery-looking special effects and a sagging story line.
    • 49 Metascore
    • 50 Mick LaSalle
    A promising idea turns into nothing, and we're left with a painfully dull kids' picture.
    • 64 Metascore
    • 50 Mick LaSalle
    Has the three elements we've come to expect from Eastwood: the steady pace, the shadowy cinematography and, of course, the presence of the Big Guy.
    • 77 Metascore
    • 50 Mick LaSalle
    There are some nice things to be said about Hairspray, the John Waters movie which opened over the weekend, but not enough to explain all you've been hearing about it. It's a fairly run-of-the-mill teenage dance movie, set in Baltimore in the early '60s, with a certain oddball humor that only occasionally lifts it out of its class. [29 Feb 1988, p.F3]
    • San Francisco Chronicle
    • 66 Metascore
    • 50 Mick LaSalle
    Routine, genial sports movie.
    • 66 Metascore
    • 50 Mick LaSalle
    Has its moments, and Schwarzenegger is as buff and tough as ever. But there's a flat feeling about this effort that's unmistakable and inescapable.
    • 66 Metascore
    • 50 Mick LaSalle
    Stone does everything he can to do justice to the real-life people he's depicting, and yet nothing he does can cover up the film's single but overarching weakness: The personal story he uses to portray the larger event is limited in scope and impact.
    • 75 Metascore
    • 50 Mick LaSalle
    Night Moves, which shows her at her best and worst, also shows two roads, right and wrong, that Reichardt can choose to pursue. As someone who likes this filmmaker even when I don't like her movies, I hope she takes the harder road.
    • 66 Metascore
    • 50 Mick LaSalle
    The subtle ironies of Austen's novel are rendered obvious, and the book's social satire gives way here to more straightforward romantic comedy.
    • 86 Metascore
    • 50 Mick LaSalle
    In the end, the film shakes down as a kind of eat-your-spinach exercise, a movie that’s worthy and perhaps good for you, but is labored and only enjoyable intermittently.
    • 23 Metascore
    • 50 Mick LaSalle
    The Condemned isn't post-modern junk, smirky junk, faux junk or clever junk. It's pure junk, with a certain integrity to it.
    • 47 Metascore
    • 50 Mick LaSalle
    Murder at 1600 has velocity and excitement, and that takes it a long way. It stars Wesley Snipes, which takes it a bit farther. And it's also lightweight, cliched and borderline ridiculous, which takes it back a few pegs.
    • 17 Metascore
    • 50 Mick LaSalle
    If you're like me and think that any Pacino movie is sort of worth seeing, so long as he never says, "Hoo-ha," then 88 Minutes won't be a total disappointment.
    • 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.
    • 52 Metascore
    • 50 Mick LaSalle
    These guys are very normal off stage, making them easy to like and not very exciting to watch.
    • 57 Metascore
    • 50 Mick LaSalle
    Unfortunately, structural flaws and a built-in lack of suspense keep it from being nearly as moving as it was intended to be.
    • 59 Metascore
    • 50 Mick LaSalle
    Greed is boring.
    • 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.
    • 54 Metascore
    • 50 Mick LaSalle
    It should have been the poker equivalent of "The Hustler." But it suffers from iron-poor blood. No energy. It just lies there.
    • 45 Metascore
    • 50 Mick LaSalle
    Only partly successful.
    • 41 Metascore
    • 50 Mick LaSalle
    Has no insights, no point, no urgency and no importance.
    • 66 Metascore
    • 50 Mick LaSalle
    Even a mediocre David Mamet movie is still a David Mamet movie. That means there are lines to savor, partly because the lines are so good, partly because they are so Mamet.
    • 62 Metascore
    • 50 Mick LaSalle
    The film, actually, is a little like Reeves himself: It starts promisingly and trails off into indistinctness and mystery.
    • 67 Metascore
    • 50 Mick LaSalle
    The material is ripe for black comedy, but Stewart’s screenplay, staying true to Bahari’s real-life experience, steers a middle course. It’s sometimes scary, sometimes funny, and sometimes absurd, but never any of those things fully, or effectively.
    • 53 Metascore
    • 50 Mick LaSalle
    Epps is a leading man on the rise, and Cool J. is something to see.
    • 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.
    • 61 Metascore
    • 50 Mick LaSalle
    Blue Gate Crossing is 85 minutes of wistful gloom.
    • 59 Metascore
    • 50 Mick LaSalle
    Things are a little off. The style is gritty 1970s-style crime thriller, but the morals are straight out of 2007, and the movie is set in 1988.
    • 57 Metascore
    • 50 Mick LaSalle
    Some of the best bits of the original movie are replayed here but lose their punch the second time around - the horse manure bit, the skate board sequence. Maybe people who never saw the first movie will get a big kick out of them. [22 Nov 1989, p.E1]
    • San Francisco Chronicle
    • 48 Metascore
    • 50 Mick LaSalle
    A mildly pleasing romantic comedy, a trifle held together by Drew Barrymore's charm and a decent high-concept gimmick.
    • 37 Metascore
    • 50 Mick LaSalle
    Considering what the filmmakers had to work with, and the fact that it has all been done before, Freddy Vs. Jason isn't bad. And sometimes not bad is almost good.
    • 69 Metascore
    • 50 Mick LaSalle
    It's a film of unquestioned visual artistry, and the filmmakers' empathy and human understanding are apparent moment to moment, scene by scene. But despite sensitive performances, it's an experiment that fizzles.
    • 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.
    • 44 Metascore
    • 50 Mick LaSalle
    Stomp the Yard, at nearly two hours, has a decent story, a good subject and a horrible plot.
    • 49 Metascore
    • 50 Mick LaSalle
    The result is that most of the picture plays out as a series of scenes in which our hero sits there, gets angry and loses all his money.
    • 63 Metascore
    • 50 Mick LaSalle
    Eventually the concept buckles under the heavy blockbuster treatment, becoming a monotonous, repetitive spectacle of endless shipboard sword fights and pirate ghosts in the moonlight.
    • 67 Metascore
    • 50 Mick LaSalle
    The curious thing about this new Cinderella is that every old and familiar element is done beautifully.
    • 70 Metascore
    • 50 Mick LaSalle
    It commits the only crime that can be committed against Shakespeare: It makes him boring.
    • 49 Metascore
    • 50 Mick LaSalle
    An innocuous, fluffy little nothing of an almost-pleasant movie.
    • tbd Metascore
    • 50 Mick LaSalle
    Douglas does his best acting while watching and reacting to what he sees on screen. If this ends up being his cinematic swan song, it will not have been a bad way to go.
    • 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.
    • 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.
    • 38 Metascore
    • 50 Mick LaSalle
    A strange movie, in that it has the atmosphere of a comedy and some extreme characters set up to be comical, but there are really no funny scenes.
    • 55 Metascore
    • 50 Mick LaSalle
    The film may be intended to launch the movie careers of Patrick Stewart and the gang from ''Star Trek: The Next Generation,'' but any vibrancy, any emotional power it has derives from William Shatner as Kirk. And it's not even his movie. [18 Nov. 1994, p.C1]
    • San Francisco Chronicle
    • 68 Metascore
    • 50 Mick LaSalle
    For all the movie's richness and dazzle, for all that money dripping off the screen, Batman Returns is a gorgeous failure -- flashy, intermittently appealing but, in the end, a big mess. Batman Returns lacks a coherent story. It lacks a point of view and a focus. And so everything suffers, even the art direction. [19 June 1992, p.D1]
    • San Francisco Chronicle
    • 44 Metascore
    • 50 Mick LaSalle
    Some of that emotion inevitably makes its way into our perception of the film, which elevates it somewhat, but only to the level of mediocrity.
    • 75 Metascore
    • 50 Mick LaSalle
    Romantic comedies can go in all sorts of directions, but they depend on the audience’s believing that a couple should get together and stay together. But in Trainwreck, that belief is hard to come by.
    • 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.
    • 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.
    • 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."
    • 70 Metascore
    • 50 Mick LaSalle
    Joachim Trier is a Norwegian filmmaker who made a strong debut in 2011, with his film, “Oslo, August 31.” Louder Than Bombs is his first English-language effort, and it’s disappointing.
    • 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.
    • 59 Metascore
    • 50 Mick LaSalle
    Shannon is worth seeing, and so is Spacey — hunched over, doing a funny impression of Nixon’s voice and body language. But this time the actors are better than the material.
    • 30 Metascore
    • 50 Mick LaSalle
    Just like a low-budget football comedy, only with money.
    • 42 Metascore
    • 50 Mick LaSalle
    The real issue is that everything about Adam’s journey feels half digested and tossed back up. We’ve seen it before. It was better the first time.
    • 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.
    • 53 Metascore
    • 50 Mick LaSalle
    The attempt is to create a reality wide enough to accommodate the extremes of absurdity and hard political truth, but the pieces never cohere, and so we end up with a rattling bag of disparate elements.
    • 83 Metascore
    • 50 Mick LaSalle
    As for the movie’s ultimate resolution, nothing specific can be said here, except that it borders on inexcusable.
    • 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.
    • 56 Metascore
    • 50 Mick LaSalle
    Ritchie is a director with no instinct for the audience, and he can’t hold things together for an entire film. He seems at a loss, from moment to moment, as to what he should emphasize.
    • 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.
    • 33 Metascore
    • 50 Mick LaSalle
    Combines the usual dumb ideas with one good one. And not just good, but impressive, in that it makes sense of much of what went before.
    • 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.
    • 51 Metascore
    • 50 Mick LaSalle
    Me Before You is just a little better than it had to be. It’s not so much better that it escapes being what it is, a sort-of romance, liberally sprinkled with moments of corniness and emotional dishonesty. But ultimately, when it matters, it’s truthful — about the people depicted, and who they are, and what they face.
    • 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.
    • 47 Metascore
    • 50 Mick LaSalle
    Surely, there’s the potential here for a kind of Country and Western “Amadeus.” Instead we get I Saw the Light, which will do until something better comes along.
    • 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
    • 45 Metascore
    • 50 Mick LaSalle
    It’s an elaborate and artificial concoction, without any discernible ambition behind it.
    • 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.
    • 54 Metascore
    • 50 Mick LaSalle
    If only Streep would have put down the microphone and let Springfield sing “Jessie’s Girl,” Ricki and the Flash might have had half a chance.
    • 44 Metascore
    • 50 Mick LaSalle
    In this her third feature as a director, Jolie once again shows a marked talent for the visual aspects of storytelling. Her shot selection is impeccable and her compositions are artful without being self-consciousness.
    • 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.
    • 58 Metascore
    • 50 Mick LaSalle
    That’s all it is, a little bit funny.
    • 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.

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