For 2,248 reviews, this critic has graded:
  • 52% higher than the average critic
  • 2% same as the average critic
  • 46% lower than the average critic
On average, this critic grades 0.9 points higher than other critics. (0-100 point scale)

Mick LaSalle's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Shopgirl
Lowest review score: 0 The Last Airbender
Score distribution:
2,248 movie reviews
    • 65 Metascore
    • 50 Mick LaSalle
    It's the supporting players who stand out.
    • 51 Metascore
    • 50 Mick LaSalle
    A movie with lots of heart but no heartbeat.
    • 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.
    • 62 Metascore
    • 50 Mick LaSalle
    The film, actually, is a little like Reeves himself: It starts promisingly and trails off into indistinctness and mystery.
    • 49 Metascore
    • 50 Mick LaSalle
    A documentary in search of a story.
    • 49 Metascore
    • 50 Mick LaSalle
    The world of The Black Dahlia is beyond bleak, beyond film noir.
    • 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.
    • 79 Metascore
    • 50 Mick LaSalle
    As painstaking as a documentary but without the satisfaction of a documentary or the impact of a drama.
    • 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.
    • 69 Metascore
    • 50 Mick LaSalle
    Befuddling.
    • 58 Metascore
    • 50 Mick LaSalle
    Often the movie seems like a lot of empty-headed blather, with one side hating the First Amendment and the other side unable to find a better use for it but to say the f-word.
    • 74 Metascore
    • 50 Mick LaSalle
    Somewhere in the translation from stage to screen, The History Boys has become an intelligent misfire. What's left is a literate but listless film.
    • 68 Metascore
    • 50 Mick LaSalle
    Yet Apocalypto has to be respected for the sheer audacity of it, for the commitment and ambition behind it, and for its presentation of a complete other world. It is the furthest thing from a cynical or casual piece of work. It's crazy, and it moves.
    • 82 Metascore
    • 50 Mick LaSalle
    The story here isn't much, and the truth it reveals, to them and us, isn't earthshaking, just quiet and somber.
    • 56 Metascore
    • 50 Mick LaSalle
    The story, like the protagonist, floats along in a noodly sort of way, intelligent, benign and ineffectual.
    • 63 Metascore
    • 50 Mick LaSalle
    Anyone who appreciates Sylvester Stallone or enjoys the "Rocky" movies will find moments to enjoy in Rocky Balboa and will leave the theater reasonably satisfied. It's just good to see the guy, and it's good to revisit the character. And that's everything good to be said for the experience.
    • 65 Metascore
    • 50 Mick LaSalle
    The film is mired in gloom, not just sadness, but heaviness.
    • 44 Metascore
    • 50 Mick LaSalle
    Stomp the Yard, at nearly two hours, has a decent story, a good subject and a horrible plot.
    • 54 Metascore
    • 50 Mick LaSalle
    Puccini for Beginners is literate and sensitive, characterized by witty dialogue and smart, emotional two-person encounters.
    • 58 Metascore
    • 50 Mick LaSalle
    It has an affectionate aura, a warmth to it. But at the same time, the audience is left standing on the outside, almost as though watching a home movie: Clearly, this meant something to the people who made it, but it's hard to say what or why.
    • 78 Metascore
    • 50 Mick LaSalle
    Never takes off, but it never collapses. At times, it becomes frustrating -- for example, about 30 minutes are spent pursuing a lead that goes nowhere.
    • 67 Metascore
    • 50 Mick LaSalle
    A big fizzle.
    • 49 Metascore
    • 50 Mick LaSalle
    The result is that most of the picture plays out as a series of scenes in which our hero sits there, gets angry and loses all his money.
    • 47 Metascore
    • 50 Mick LaSalle
    To his credit, writer-director Jonathan Kasdan is sensitive and observant...But he doesn't know what he's talking about, not really, and though he structures the film around his areas of ignorance, that only works partially.
    • 65 Metascore
    • 50 Mick LaSalle
    Jindabyne suffers from too many extraneous elements and from a story that doesn't land with enough force or purpose.
    • 23 Metascore
    • 50 Mick LaSalle
    The Condemned isn't post-modern junk, smirky junk, faux junk or clever junk. It's pure junk, with a certain integrity to it.
    • 42 Metascore
    • 50 Mick LaSalle
    It starts exploring different facets of its premise and transforms itself into a fairly competent suspense thriller. That's enough to make it respectable, but a few things keep Next from being lovable or memorable.
    • 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.
    • 71 Metascore
    • 50 Mick LaSalle
    Taken as a motion picture, the new "Harry" comes up short. But taken as a visual aid to the experience of reading a book, the new "Harry" does its job.
    • 55 Metascore
    • 50 Mick LaSalle
    Its weaknesses are clumsy plotting and a less-than-satisfying ending.
    • 56 Metascore
    • 50 Mick LaSalle
    The opening is spectacular, but the rest is fairly routine.
    • 43 Metascore
    • 50 Mick LaSalle
    Follows a predictable format.
    • 59 Metascore
    • 50 Mick LaSalle
    Things are a little off. The style is gritty 1970s-style crime thriller, but the morals are straight out of 2007, and the movie is set in 1988.
    • 59 Metascore
    • 50 Mick LaSalle
    As for Beowulf itself, it's all about the visuals, which means that as soon as the novelty of 3-D wears off, the experience has been had.
    • 78 Metascore
    • 50 Mick LaSalle
    Wallows in bleakness and settles for sentimental gestures.
    • 61 Metascore
    • 50 Mick LaSalle
    The terseness of Hosseini's prose has been replaced by the sentimentality of the director's approach.
    • 43 Metascore
    • 50 Mick LaSalle
    Lush and heartfelt, but compelling only in fits and starts.
    • 42 Metascore
    • 50 Mick LaSalle
    Emotionally false.
    • 92 Metascore
    • 50 Mick LaSalle
    Anderson almost brings off a picture worthy of his grandiose ambition.
    • 41 Metascore
    • 50 Mick LaSalle
    A caper comedy with some definite problems.
    • 46 Metascore
    • 50 Mick LaSalle
    It's 90 minutes of flying, dismembered limbs and explosions of blood, but give the man credit. Stallone can do action. If you want action and nothing but, here it is.
    • 69 Metascore
    • 50 Mick LaSalle
    The movie's effectiveness is distorted by its hero-worship of the Chicago defendants.
    • 47 Metascore
    • 50 Mick LaSalle
    The laughs do come, but not as readily, not as heartily and not as joyfully as you might expect.
    • 48 Metascore
    • 50 Mick LaSalle
    21
    A movie with an irresistible premise that ultimately collapses around the whole issue of motivation. Until it does, this is a thoroughly entertaining picture.
    • 56 Metascore
    • 50 Mick LaSalle
    It exudes goodwill and high spirits, occasionally makes you feel really good, and yet here and there and in some definite ways, it kinda sorta stinks.
    • 17 Metascore
    • 50 Mick LaSalle
    If you're like me and think that any Pacino movie is sort of worth seeing, so long as he never says, "Hoo-ha," then 88 Minutes won't be a total disappointment.
    • 55 Metascore
    • 50 Mick LaSalle
    You could blast for it, and you still won't find 30 uninterrupted seconds of truth in Baby Mama. The characters are lies. Their emotional workings are lies. The jokes are based on lies about human behavior.
    • 53 Metascore
    • 50 Mick LaSalle
    As a work of entertainment, as a cohesive narrative and as an artistic whole, there's no way to call it anything but an on-balance average effort. Yet there's nothing remotely average about the movie's warm spirit, its imaginative and arresting cinematography or its handful of unique, brilliant scenes and shrewd, bizarre performances.
    • 37 Metascore
    • 50 Mick LaSalle
    If this action extravaganza represents the future of movies, it's going to be a sad, dead and awful future.
    • 34 Metascore
    • 50 Mick LaSalle
    It's an entertaining movie, which is half the game, but it's not scary, which it should be. Neither is it something to be taken seriously, though it's intended to be.
    • 24 Metascore
    • 50 Mick LaSalle
    A disappointment, but it's not a disaster, and that's at least something.
    • 56 Metascore
    • 50 Mick LaSalle
    The movie's one flaw is this: The whole movie hangs on the gradual unraveling of the central mystery and is made with the expectation that the audience is fascinated and hanging on every tidbit.
    • 64 Metascore
    • 50 Mick LaSalle
    Either a go-for-broke action movie or a sick, sick movie for a sick, sick public.
    • 49 Metascore
    • 50 Mick LaSalle
    More intelligent than most summer blockbusters and features at its center a thought-out and committed performance by Will Smith. But in the end it's merely ALMOST good.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.

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