For 2,410 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 0.4 points higher than other critics. (0-100 point scale)

Mick LaSalle's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Blue Jasmine
Lowest review score: 0 Untraceable
Score distribution:
2410 movie reviews
    • 64 Metascore
    • 50 Mick LaSalle
    Clearly, an effort was made to create a serious, thoughtful movie.
    • 27 Metascore
    • 50 Mick LaSalle
    How one likes Taxi has everything to do with how one responds to the hapless cop character, played by Jimmy Fallon.
    • 43 Metascore
    • 50 Mick LaSalle
    His (George Clooney) rugged good looks spell movie star, but his body language spells Don Knotts, without the wit.
    • 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."
    • 67 Metascore
    • 50 Mick LaSalle
    Precious and uninsightful but ends beautifully.
    • 39 Metascore
    • 50 Mick LaSalle
    It has no ambition, little sense and false sentiment, but it does have velocity, high spirits and scale.
    • 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.
    • 50 Metascore
    • 50 Mick LaSalle
    It has verve, color and energy, but there's something fundamentally bogus about it.
    • 58 Metascore
    • 50 Mick LaSalle
    The fact that the movie has to entertain with digressions is an indication of more than looseness, but rather a shoddiness...Nothing connected with the job is of any interest at all.
    • 60 Metascore
    • 50 Mick LaSalle
    A 98-minute elucidation of a point that's accepted within three minutes.
    • 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.
    • 41 Metascore
    • 50 Mick LaSalle
    The picture doesn't come close to approaching the near-classic quality of the earlier film.
    • 63 Metascore
    • 50 Mick LaSalle
    The film is long, empty and bogus.
    • 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.
    • 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.
    • 41 Metascore
    • 50 Mick LaSalle
    An occasionally charming, sometimes amateurish film .
    • 70 Metascore
    • 50 Mick LaSalle
    It commits the only crime that can be committed against Shakespeare: It makes him boring.
    • 56 Metascore
    • 50 Mick LaSalle
    Gooding can't will this well-meaning film into life.
    • 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.
    • 56 Metascore
    • 50 Mick LaSalle
    It's really not bad... It's a genuine vault at greatness that misses the mark -- but survives.
    • 71 Metascore
    • 50 Mick LaSalle
    Summer fluff that admits to being summer fluff, but it's no better off for admitting it...Intended as lightweight comedy, but if you think about it too much, it's not so funny.
    • 43 Metascore
    • 50 Mick LaSalle
    Kingpin has nastiness going for it. There are prosthesis jokes, bad-teeth jokes, ugly-women jokes, sight gags involving vomiting, etc.
    • 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.
    • 64 Metascore
    • 50 Mick LaSalle
    Has some funny moments, and if you're a Beavis and Butt-head fan, you'll enjoy the movie.
    • 55 Metascore
    • 50 Mick LaSalle
    With its fake-looking technology and empty characters, Volcano eventually becomes as obvious as its what-if premise.
    • 54 Metascore
    • 50 Mick LaSalle
    It demonstrates a filmmaker in complete command of his craft and with little control over his impulses.
    • 35 Metascore
    • 50 Mick LaSalle
    uUninspired, unnecessary and formulaic.
    • 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.
    • 39 Metascore
    • 50 Mick LaSalle
    A clever, atmospheric romantic drama that lacks something.
    • 55 Metascore
    • 50 Mick LaSalle
    A cut above most pictures of its type.
    • 34 Metascore
    • 50 Mick LaSalle
    It is a boilerplate action comedy.
    • 59 Metascore
    • 50 Mick LaSalle
    A self-conscious attempt at the brass ring.
    • 56 Metascore
    • 50 Mick LaSalle
    A romantic comedy that flirts with something serious but never gets past the flirting stage.
    • 51 Metascore
    • 50 Mick LaSalle
    The three films are watchable but resolutely minor works, though each has something to recommend it.
    • 33 Metascore
    • 50 Mick LaSalle
    Though charming at times, just misses, due to a contrived story.
    • 68 Metascore
    • 50 Mick LaSalle
    The movie drags.
    • 48 Metascore
    • 50 Mick LaSalle
    No classic, but neither was the original starring Burt Reynolds. Instead, it's an odd mix of amusing nonsense and nastiness that chugs along, hit and miss, until the last section, which is the best part of the movie and its real reason for being: the game.
    • 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.
    • 62 Metascore
    • 50 Mick LaSalle
    5x2
    The film is bleak, not particularly compelling, and the characters are frustrating, the enemies of their own happiness.
    • 55 Metascore
    • 50 Mick LaSalle
    It's all pleasant but fairly unimportant, and then -- POW -- comes the great scene, almost out of nowhere.
    • 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.
    • 52 Metascore
    • 50 Mick LaSalle
    If only the explanation and resolution of the action were more compelling, Dark Water might have been a thriller of the first order.
    • 65 Metascore
    • 50 Mick LaSalle
    In a blind taste test, I couldn't possibly have identified this as a Linklater movie, and he's a filmmaker I generally like. If anything, Bad News Bears shows that Linklater can get in and out of a movie like a cat burglar, without leaving his fingerprints anywhere. OK, he's proven it. He need never do that again.
    • 46 Metascore
    • 50 Mick LaSalle
    Cusack should have been half the picture, but the screenplay keeps shoving him offstage for no good reason, and it's a mistake. One of many.
    • 45 Metascore
    • 50 Mick LaSalle
    Only partly successful.
    • 54 Metascore
    • 50 Mick LaSalle
    Booty Call never quite gets tiresome, thanks to the appealing cast and its sexy-goofy spirit. The picture succeeds in finding jokes within jokes.
    • 78 Metascore
    • 50 Mick LaSalle
    As a screenwriter, Lemmons is able to keep all the plot elements in place. But as a director, she is unable to keep things moving.
    • 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.
    • 45 Metascore
    • 50 Mick LaSalle
    Not for a minute is Mad City anything less than entertaining. Yet it becomes frustrating nonetheless. Its ideas gradually seem to be at cross-purposes -- not complex, not tantalizingly ambiguous, but tangled and undefined.
    • 49 Metascore
    • 50 Mick LaSalle
    A perfectly OK drama, with a good cast and many good scenes, but it suffers from the usual maladies that films get when they've been out on the ranch too long: all-too-obvious symbolism and a serious case of the longueurs.
    • 64 Metascore
    • 50 Mick LaSalle
    A goopy Gwyneth Paltrow movie.
    • 62 Metascore
    • 50 Mick LaSalle
    The film is always at least mildly interesting, because international arms dealing is a fairly compelling issue, but it's never as informative as a good documentary nor as engrossing as a good narrative. It's a hybrid that's frustrating in two distinct ways.
    • 60 Metascore
    • 50 Mick LaSalle
    The people who made this film -- particularly the ones responsible for the story and the dialogue -- should look no further when trying to understand why In Her Shoes lands with such little impact. The characters seem authentic -- until the chick-flick template distorts them.
    • 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.
    • 56 Metascore
    • 50 Mick LaSalle
    It's the typical elements that make Eraser no more than a solid bit of fluff: This is one of those movies where good guys don't miss, and bad guys can't shoot to save their lives.
    • 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.
    • 45 Metascore
    • 50 Mick LaSalle
    Missing a purpose.
    • 54 Metascore
    • 50 Mick LaSalle
    Too labored and cliched to incite passion in an audience.
    • 77 Metascore
    • 50 Mick LaSalle
    The film is dreadfully slow without much in the way of rewards.
    • 65 Metascore
    • 50 Mick LaSalle
    Strives for an airy, merry amorality, but it never quite achieves liftoff, though at times it comes close.
    • 52 Metascore
    • 50 Mick LaSalle
    Most of the bits and performances have a hard time making the transition from stage to screen.
    • 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.
    • 57 Metascore
    • 50 Mick LaSalle
    A light film, airy, likable and set in Venice.
    • 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.
    • 37 Metascore
    • 50 Mick LaSalle
    A formulaic, predictable and yet reasonably likable picture.
    • 49 Metascore
    • 50 Mick LaSalle
    An innocuous, fluffy little nothing of an almost-pleasant movie.
    • 53 Metascore
    • 50 Mick LaSalle
    Something is wrong with A Good Woman: The lightning never strikes. It's never quite alive.
    • 45 Metascore
    • 50 Mick LaSalle
    I like it for the thing it is, a reasonably solid B movie, and I like it as one in the continuum of bizarre Ford vehicles that combine high-stakes action with household horror.
    • 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.
    • 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?
    • 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.
    • 70 Metascore
    • 50 Mick LaSalle
    Young Benny has a nice smile, and she and Jack seem like pleasant people, but in the end (and in the beginning and in the middle) it's hard to get worked up about them.
    • 66 Metascore
    • 50 Mick LaSalle
    Even those who despised the original novel should not have trouble stomaching Bridges, while the novel's fans will find the film -- despite some additions -- generally true to what they perceive to be the book's spirit.
    • 68 Metascore
    • 50 Mick LaSalle
    At its best, Mermin -- who used an all-female crew -- conveys the sense of an entirely feminine world being created under the beauty school roof, and it's refreshing.
    • 68 Metascore
    • 50 Mick LaSalle
    Qualifies as a mild success. It's an easy picture to like, even if it's not exactly satisfying.
    • 46 Metascore
    • 50 Mick LaSalle
    There are reversals of expectation, miraculous escapes from certain doom -- all the things that make thrillers thrilling. But The Da Vinci Code isn't thrilling.
    • 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.
    • 65 Metascore
    • 50 Mick LaSalle
    In the end, it's really just a thriller, slower than most, with pockets of dead time but with a few extra flourishes, too, thanks to Norton.
    • 50 Metascore
    • 50 Mick LaSalle
    Exciting and nerve-racking in the moment, but empty.
    • 58 Metascore
    • 50 Mick LaSalle
    Almost as mindless as "Fantastic Four," but more annoying in that this one has philosophical pretensions.
    • 67 Metascore
    • 50 Mick LaSalle
    The smarter way to make this movie would have been to edit out everything extraneous to the story of Xavier and Wendy. They're the soul and heart of the movie, while everything else is pretty much dead weight.
    • 73 Metascore
    • 50 Mick LaSalle
    Curiously and unexpectedly, the movie brings on a suffocating feeling of constraint. It's a consequence of seeing characters with such terribly limited mobility.
    • 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
    The comedy is hit and miss, with good bits interrupted by dead patches. It's a movie to root for more than to enjoy.
    • 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.
    • 57 Metascore
    • 50 Mick LaSalle
    The best thing about Strangers With Candy is its relentlessness. It doesn't back off on its absurd humor, doesn't try to make sense and doesn't soft-pedal the characters.
    • 64 Metascore
    • 50 Mick LaSalle
    Techine doesn't have much of a story to tell, so instead of moving the narrative forward, he expands it laterally.
    • 36 Metascore
    • 50 Mick LaSalle
    Has the strengths and weaknesses of a one-man show.
    • 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.
    • 70 Metascore
    • 50 Mick LaSalle
    Most viewers will have no more fun watching this story than the characters do living it.
    • 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.
    • 71 Metascore
    • 50 Mick LaSalle
    Married to the Mob picks up pace throughout and builds to an exciting finish. [19 Aug 1988]
    • San Francisco Chronicle
    • 69 Metascore
    • 50 Mick LaSalle
    Live Flesh lacks freshness.
    • 47 Metascore
    • 50 Mick LaSalle
    To his credit, writer-director Jonathan Kasdan is sensitive and observant...But he doesn't know what he's talking about, not really, and though he structures the film around his areas of ignorance, that only works partially.
    • 65 Metascore
    • 50 Mick LaSalle
    Jindabyne suffers from too many extraneous elements and from a story that doesn't land with enough force or purpose.
    • 23 Metascore
    • 50 Mick LaSalle
    The Condemned isn't post-modern junk, smirky junk, faux junk or clever junk. It's pure junk, with a certain integrity to it.
    • 42 Metascore
    • 50 Mick LaSalle
    It starts exploring different facets of its premise and transforms itself into a fairly competent suspense thriller. That's enough to make it respectable, but a few things keep Next from being lovable or memorable.
    • 68 Metascore
    • 50 Mick LaSalle
    Director Stephan Elliott too easily buys into the drag queens' conception of themselves as valiant pursuers of illusion, without ever questioning the value of the illusion being pursued.
    • 13 Metascore
    • 50 Mick LaSalle
    Will you find yourself wishing you were looking at someone else? Not really.
    • 48 Metascore
    • 50 Mick LaSalle
    Buffy, the Vampire Slayer is lightweight and fun -- not great fun, but it has its moments. The high school satire angle is both authentic and good-natured. [31 Jul 1992, p.D1]
    • San Francisco Chronicle
    • 49 Metascore
    • 50 Mick LaSalle
    Yet all this work, all this skill, serve as little more than an elaborate setting for a rhinestone. At its core there is no passion, no sincerity of conception, nothing that might have made The Quick and the Dead into anything more than moment-to-moment stimulation. You get lots of clothes here, but no emperor. Or rather, no empress.
    • 52 Metascore
    • 50 Mick LaSalle
    Does a number of sly things.
    • 71 Metascore
    • 50 Mick LaSalle
    It's a modest and mildly funny effort, with good scenes and touches of incisive satire, but it's not quite funny enough, and it's undermined by its camera technique.
    • 45 Metascore
    • 50 Mick LaSalle
    Murphy seems committed to pushing his hostile vision, and that in itself is interesting. [01 Jul 1992]
    • San Francisco Chronicle
    • 66 Metascore
    • 50 Mick LaSalle
    A smirky cleverness infects much of the picture, yet some scenes are so skillfully created that it's hard not to admire them, and Dominique Pinon's sensitive performance as a retired circus man gives the movie a soul. [10 Apr 1992]
    • San Francisco Chronicle
    • 57 Metascore
    • 50 Mick LaSalle
    Traveller is entertaining in a mild, relaxing way.
    • 46 Metascore
    • 50 Mick LaSalle
    It's mostly entertaining, and has some strong moments, but it lacks the special magic that a musical needs, that sense of its inhabiting a parallel universe where any wonderful thing can happen at any moment, including music suddenly arising from nowhere. [10 Apr 1992]
    • San Francisco Chronicle
    • 40 Metascore
    • 50 Mick LaSalle
    It's rough when it works and rough when it doesn't. Much of the first hour is made up of slow patches, while the last 20 minutes are ugly and terrifying.
    • 77 Metascore
    • 50 Mick LaSalle
    There are some nice things to be said about Hairspray, the John Waters movie which opened over the weekend, but not enough to explain all you've been hearing about it. It's a fairly run-of-the-mill teenage dance movie, set in Baltimore in the early '60s, with a certain oddball humor that only occasionally lifts it out of its class. [29 Feb 1988, p.F3]
    • San Francisco Chronicle
    • 51 Metascore
    • 50 Mick LaSalle
    The movie is never much more than fluff. But, like director Donald Petrie's previous film, "Grumpy Old Men," it has an honest core that enables it to keep its balance. [29 Apr 1994]
    • San Francisco Chronicle
    • 33 Metascore
    • 50 Mick LaSalle
    Let It Ride has atmosphere, plus a good setting, appealing actors - and a bad script. [19 Aug 1989]
    • San Francisco Chronicle
    • 64 Metascore
    • 50 Mick LaSalle
    You Kill Me is pretty light, but it's well made, and within the built-in limitations of its story -- a hit man goes to Alcoholics Anonymous -- it's fairly pleasing.
    • 69 Metascore
    • 50 Mick LaSalle
    So what's wrong with Joshua? Two things: The audience is ahead of the movie, and the movie never catches up.
    • 71 Metascore
    • 50 Mick LaSalle
    Taken as a motion picture, the new "Harry" comes up short. But taken as a visual aid to the experience of reading a book, the new "Harry" does its job.
    • 55 Metascore
    • 50 Mick LaSalle
    Its weaknesses are clumsy plotting and a less-than-satisfying ending.
    • 56 Metascore
    • 50 Mick LaSalle
    The opening is spectacular, but the rest is fairly routine.
    • 43 Metascore
    • 50 Mick LaSalle
    Follows a predictable format.
    • 59 Metascore
    • 50 Mick LaSalle
    Things are a little off. The style is gritty 1970s-style crime thriller, but the morals are straight out of 2007, and the movie is set in 1988.
    • 51 Metascore
    • 50 Mick LaSalle
    Might have been more effective as a documentary.
    • 59 Metascore
    • 50 Mick LaSalle
    As for Beowulf itself, it's all about the visuals, which means that as soon as the novelty of 3-D wears off, the experience has been had.
    • 78 Metascore
    • 50 Mick LaSalle
    Wallows in bleakness and settles for sentimental gestures.
    • 61 Metascore
    • 50 Mick LaSalle
    The terseness of Hosseini's prose has been replaced by the sentimentality of the director's approach.
    • 43 Metascore
    • 50 Mick LaSalle
    Lush and heartfelt, but compelling only in fits and starts.
    • 42 Metascore
    • 50 Mick LaSalle
    Emotionally false.
    • 92 Metascore
    • 50 Mick LaSalle
    Anderson almost brings off a picture worthy of his grandiose ambition.
    • 41 Metascore
    • 50 Mick LaSalle
    A caper comedy with some definite problems.
    • 46 Metascore
    • 50 Mick LaSalle
    It's 90 minutes of flying, dismembered limbs and explosions of blood, but give the man credit. Stallone can do action. If you want action and nothing but, here it is.
    • 69 Metascore
    • 50 Mick LaSalle
    The movie's effectiveness is distorted by its hero-worship of the Chicago defendants.
    • 47 Metascore
    • 50 Mick LaSalle
    The laughs do come, but not as readily, not as heartily and not as joyfully as you might expect.
    • 47 Metascore
    • 50 Mick LaSalle
    Call it a victory of conviction over substance, but when Argento is onscreen, you look at her - not because she's good, but because she's there in a way nobody else is.
    • 48 Metascore
    • 50 Mick LaSalle
    21
    A movie with an irresistible premise that ultimately collapses around the whole issue of motivation. Until it does, this is a thoroughly entertaining picture.
    • 56 Metascore
    • 50 Mick LaSalle
    It exudes goodwill and high spirits, occasionally makes you feel really good, and yet here and there and in some definite ways, it kinda sorta stinks.
    • 57 Metascore
    • 50 Mick LaSalle
    The movie gets bogged down in the formula conventions of romantic comedy, and in the process, it loses all honesty.
    • 17 Metascore
    • 50 Mick LaSalle
    If you're like me and think that any Pacino movie is sort of worth seeing, so long as he never says, "Hoo-ha," then 88 Minutes won't be a total disappointment.
    • 55 Metascore
    • 50 Mick LaSalle
    You could blast for it, and you still won't find 30 uninterrupted seconds of truth in Baby Mama. The characters are lies. Their emotional workings are lies. The jokes are based on lies about human behavior.
    • 53 Metascore
    • 50 Mick LaSalle
    As a work of entertainment, as a cohesive narrative and as an artistic whole, there's no way to call it anything but an on-balance average effort. Yet there's nothing remotely average about the movie's warm spirit, its imaginative and arresting cinematography or its handful of unique, brilliant scenes and shrewd, bizarre performances.
    • 37 Metascore
    • 50 Mick LaSalle
    If this action extravaganza represents the future of movies, it's going to be a sad, dead and awful future.
    • 34 Metascore
    • 50 Mick LaSalle
    It's an entertaining movie, which is half the game, but it's not scary, which it should be. Neither is it something to be taken seriously, though it's intended to be.
    • 24 Metascore
    • 50 Mick LaSalle
    A disappointment, but it's not a disaster, and that's at least something.
    • 56 Metascore
    • 50 Mick LaSalle
    The movie's one flaw is this: The whole movie hangs on the gradual unraveling of the central mystery and is made with the expectation that the audience is fascinated and hanging on every tidbit.
    • 64 Metascore
    • 50 Mick LaSalle
    Either a go-for-broke action movie or a sick, sick movie for a sick, sick public.
    • 49 Metascore
    • 50 Mick LaSalle
    More intelligent than most summer blockbusters and features at its center a thought-out and committed performance by Will Smith. But in the end it's merely ALMOST good.
    • 51 Metascore
    • 50 Mick LaSalle
    Finding Amanda is a minor movie for Broderick, but considering where it takes him, it's understandable why he took the role.
    • 82 Metascore
    • 50 Mick LaSalle
    If we're going to be honest, we need to look inside and ask ourselves: Do we really want to see a listless movie about a woman whose dream is to move into a double-wide trailer?
    • 56 Metascore
    • 50 Mick LaSalle
    Maher makes Michael Moore look incredibly likable in comparison.
    • 64 Metascore
    • 50 Mick LaSalle
    Within the realm of a mildly good time.
    • 57 Metascore
    • 50 Mick LaSalle
    Lacks, a story that makes it feel personal.
    • 43 Metascore
    • 50 Mick LaSalle
    The movie doesn't have three brain cells to rub together, but the premise carries it a long way.
    • 58 Metascore
    • 50 Mick LaSalle
    As a drama - an epic drama, no less, clocking in at 137 minutes - its fascination is diffused, and the movie becomes something of a long slog.
    • 82 Metascore
    • 50 Mick LaSalle
    A fine ensemble piece, but a maddening and unjustified length.
    • 67 Metascore
    • 50 Mick LaSalle
    The temptation to be emphatic about Synecdoche, New York is overwhelming but should be resisted, because the movie really is a mixed bag. A particularly odd mix.
    • 49 Metascore
    • 50 Mick LaSalle
    Needless to say, Soul Men has a lot to overcome in its effort to be funny.
    • 86 Metascore
    • 50 Mick LaSalle
    Doesn't hit its stride until the last 30 minutes, and by then, it's just a little too late.
    • 29 Metascore
    • 50 Mick LaSalle
    A respectable and fairly decent movie.
    • 58 Metascore
    • 50 Mick LaSalle
    A film made with high aspirations and more than the usual commitment but one that, after an arresting beginning, changes into a passive rumination.
    • 72 Metascore
    • 50 Mick LaSalle
    Maybe this mixed-up and weird, awful but awfully likable movie is what Dirty Harry had coming to him, after all.
    • 56 Metascore
    • 50 Mick LaSalle
    The history itself is the main appeal here.
    • 45 Metascore
    • 50 Mick LaSalle
    The movie is ridiculous.
    • 72 Metascore
    • 50 Mick LaSalle
    12
    No matter how bad things get, you can always be thankful for this: You're not on trial for murder in Russia.
    • 39 Metascore
    • 50 Mick LaSalle
    Holds a lot of promise in its first hour and never completely falls apart, but it's ultimately not the movie it might have been.
    • 56 Metascore
    • 50 Mick LaSalle
    The movie is reasonably entertaining, though it helps to be 6 years old.
    • 40 Metascore
    • 50 Mick LaSalle
    A little like spending the holidays with strangers. The spirits are high, the relationships are warm, the personal stories have a shared history, and even though you're on the outside of things, you appreciate the people in a remote and perhaps admiring sort of way. Still, when it's time to leave, you're not sorry.
    • 61 Metascore
    • 50 Mick LaSalle
    For all its sensitivity to the horrors of mental illness, The Soloist ends up as a fairly canned piece of work.
    • 34 Metascore
    • 50 Mick LaSalle
    Has some laughs - more than a few thanks to Michael Douglas as a dead swinger (the movie's Jacob Marley) - and some moments of tenderness, too.
    • 64 Metascore
    • 50 Mick LaSalle
    Adoration, despite a family resemblance to some of his finest work ("The Sweet Hereafter," "Ararat"), is Egoyan at his worst. The movie is slow and airless, with a script so weak one wonders why Egoyan bothered to film it.
    • 50 Metascore
    • 50 Mick LaSalle
    Painless and predictable, with an amusing if overwrought featured performance by Woody Harrelson.
    • 58 Metascore
    • 50 Mick LaSalle
    One can almost feel the movie Away We Go might have been, if only we could believe that Verona loves Burt - or understand why Burt loves Verona.
    • 71 Metascore
    • 50 Mick LaSalle
    The most daring thing that Jonze and Eggers have done is make a children's film that might not really be for kids.
    • 45 Metascore
    • 50 Mick LaSalle
    The result is Allen's weakest film in years.
    • 76 Metascore
    • 50 Mick LaSalle
    As the record of a cultural event, Soul Power is a hit-and-miss affair.
    • 73 Metascore
    • 50 Mick LaSalle
    Yet, even at its worst, Zombieland is better than most movies of its kind - disgusting but not too disgusting, and with a few laughs.
    • 37 Metascore
    • 50 Mick LaSalle
    The film's basic material, that is the history, is not without interest. And it must be admitted that every so often - for about 10 seconds every 10 minutes - we get a hint of the movie they wanted to make and hoped they were making: One about the thrill of early aviation and the promise of a young century.
    • 39 Metascore
    • 50 Mick LaSalle
    Feels forgettable, even though, in the moment, it's often very funny.
    • 57 Metascore
    • 50 Mick LaSalle
    Guy Ritchie is the worst screenwriter in the world, but, to be fair, he is not the worst director. He is only the worst director of the people who actually get to make movies.
    • 44 Metascore
    • 50 Mick LaSalle
    A perfect example of an Intelligent Bad Movie.
    • 44 Metascore
    • 50 Mick LaSalle
    Let's just say it: It's great there's a movie that makes teenage girls scream. Half the movies Hollywood makes are designed to make teenage boys scream, and those boy movies are just as ridiculous and a lot nastier than New Moon.
    • 53 Metascore
    • 50 Mick LaSalle
    Never dull, but it's rarely more than gently entertaining.
    • 42 Metascore
    • 50 Mick LaSalle
    The Lovely Bones is difficult viewing, a meticulously crafted experiment that, it turns out, wasn't worth it.
    • 19 Metascore
    • 50 Mick LaSalle
    This is the weird thing, Old Dogs is not that bad.
    • 60 Metascore
    • 50 Mick LaSalle
    There's valuable information here and some human stories that deserve to be heard.
    • 66 Metascore
    • 50 Mick LaSalle
    For all its surface seriousness, Splice is a regulation monster movie. So however somber it gets, it's never truly thought-provoking, and however outrageous it gets, it's still always 20 minutes behind the audience. It's just too dumb to be serious and too slow to be entertaining. Read more: http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2010/06/03/MVKJ1DOO26.DTL#ixzz0pqYvhKuF
    • 49 Metascore
    • 50 Mick LaSalle
    For 70 minutes, Antichrist is a rare exploration of pain, featuring two actors collaborating with each other in agonizing and intimate ways. It also contains some of the best work Gainsbourg has ever done on screen. And then - if I put it more gently I wouldn't really be saying it - director Lars von Trier loses his mind.
    • 54 Metascore
    • 50 Mick LaSalle
    What's impressive about Clooney in The Men Who Stare at Goats is how he marries his goofy, comic side with his dramatic side.
    • 64 Metascore
    • 50 Mick LaSalle
    If you like this sort of movie - and actually, cards on the table, I like this kind of movie - you will not be sorry you saw it. But you will not come away from the experience feeling that you've seen Victoria, young or otherwise.
    • 33 Metascore
    • 50 Mick LaSalle
    Virtually every word and plot turn is insincere, manufactured, unfelt and dishonest, and its portrayal of people demonstrates either an ignorance of human behavior or a disdain for truth.
    • 81 Metascore
    • 50 Mick LaSalle
    Even as it stands, Fish Tank is a valuable movie, though it aspires to a social insight it doesn't attain and a psychological penetration it won't maintain.
    • 77 Metascore
    • 50 Mick LaSalle
    One must be very, very, very, very, very interested in Yorkshire, circa 1980, to embrace and enjoy The Red Riding Trilogy. And yet ... there is something to be said for an enterprise this specific and uncompromising.
    • 43 Metascore
    • 50 Mick LaSalle
    A melodrama about three cliches in search of a bloodbath.
    • 32 Metascore
    • 50 Mick LaSalle
    There's a good idea behind Repo Men, not a whole lot of thinking, but at least one whole idea.
    • 45 Metascore
    • 50 Mick LaSalle
    Brosnan has never been so opened up, so emotional and yet so precise in his work. It's a lovely performance in a film that only sometimes deserves him.
    • 47 Metascore
    • 50 Mick LaSalle
    The mixed report on La Mission is that writer-director Peter Bratt doesn't really know how to make pictures, but he does know the central character in his movie.
    • 35 Metascore
    • 50 Mick LaSalle
    So any "Nightmare" movie has a built-in handicap going in, but the better ones find ways to compensate, by casting appealing young actors (they're always young), by having imaginative dream sequences and - most important of all - by keeping the dreams short. By that standard, this new "Nightmare" is a fairly decent effort.
    • 78 Metascore
    • 50 Mick LaSalle
    Though I wish Please Give were a little better, there aren't enough American movies like it.
    • 51 Metascore
    • 50 Mick LaSalle
    It's one thing for a romantic comedy to be predictable - they all end at the same destination, after all. But it's quite another thing to be predictable at every twist and turn of the story.
    • 72 Metascore
    • 50 Mick LaSalle
    At first, The Oath looks as though it will be a study of the soul-corroding effects of twisted ideology, but it emerges as the reverse.
    • 55 Metascore
    • 50 Mick LaSalle
    It's marred by loaded language and a propagandistic tone that undercuts rather than promotes its purposes.
    • 79 Metascore
    • 50 Mick LaSalle
    I Am Love casts no spell and creates no narrative urgency. It's as compelling as mildly interesting gossip about people you don't know.
    • 43 Metascore
    • 50 Mick LaSalle
    Eventually arrives at a lovely place, but it arrives limping. Small but nagging problems drag it down, such as weird acting choices, bizarre casting and strange aging makeup.
    • 72 Metascore
    • 50 Mick LaSalle
    When compared with the ambition and achievement of recent animated films, such as "Coraline" and "Toy Story 3," Despicable Me hardly seems to have been worth making, and it's barely worth watching.
    • 49 Metascore
    • 50 Mick LaSalle
    Despite the title, Ismailos' documentary is not a study of what constitutes great direction. Rather it's a nicely arranged film in which a variety of filmmakers Ismailos likes discuss their inspirations and influences.
    • 36 Metascore
    • 50 Mick LaSalle
    Just another bloody cop thriller.
    • 77 Metascore
    • 50 Mick LaSalle
    The movie's pleasures are acting pleasures, but the movie doesn't compel attention and never seems like more than the frame for a performance.
    • 60 Metascore
    • 50 Mick LaSalle
    Sober and dispiriting, tense and morose.
    • 65 Metascore
    • 50 Mick LaSalle
    Patrik Age 1.5 has a single drawback that can't be overlooked, at least from the standpoint of an American viewer. It's predictable.
    • 45 Metascore
    • 50 Mick LaSalle
    And give credit to Stallone: He just leaves the camera on Rourke, in the tightest of close-ups, cutting only once, to himself, for a one-second reaction shot, but keeping the focus on his actor. A great actor.
    • 52 Metascore
    • 50 Mick LaSalle
    The movie's flaw is impossible to ignore, turning on the most tired of romantic comedy conventions: Someone knows something, and all that person has to do is say it, and the movie is over and everything's great.
    • 65 Metascore
    • 50 Mick LaSalle
    If this movie were a human being, it would be intelligent and sincere but so depressed as to be unable to get out of bed without a forklift.
    • 63 Metascore
    • 50 Mick LaSalle
    The result is a film of passion and ambition, but one whose success is intermittent at best.
    • 65 Metascore
    • 50 Mick LaSalle
    Though the film seems less like a theatrical release and more like something that might play on an obscure PBS station at 2 p.m. on a Sunday afternoon, it's reasonably interesting as a personality study.
    • 59 Metascore
    • 50 Mick LaSalle
    Greed is boring.
    • 51 Metascore
    • 50 Mick LaSalle
    It's a meandering and rather aimless movie that would be considered trite if made by another filmmaker, and yet it has such a family resemblance to other, better Woody Allen movies that it's easy to stick with it and enjoy it.
    • 64 Metascore
    • 50 Mick LaSalle
    The tone is both satiric and serious, zany but heartfelt, and for a while - maybe 20 minutes - all seems well.
    • 43 Metascore
    • 50 Mick LaSalle
    Not a mediocre film. It is, by turns, a great and awful film.
    • 82 Metascore
    • 50 Mick LaSalle
    127 Hours, about an unimaginably unbearable experience, is pretty much an unbearable experience of its own. And yet, it must be said, it's exceptionally well made.
    • 57 Metascore
    • 50 Mick LaSalle
    Roger Michell directs it as though it were an uproarious comedy, but the laughs are light, and the story's real appeal lies in its behind-the-scenes look at the manners and politics of morning television.
    • 52 Metascore
    • 50 Mick LaSalle
    If The Next Three Days were just a little more mindless, it might have been more joyful.
    • 57 Metascore
    • 50 Mick LaSalle
    The film is engaging but also has a certain creaking familiarity.
    • 57 Metascore
    • 50 Mick LaSalle
    Dunst is not the only person doing quality work in All Good Things, but she is the only one worth watching.
    • 76 Metascore
    • 50 Mick LaSalle
    As a viewing experience, the film is by turns heartrending and stultifying, but mostly stultifying.
    • 33 Metascore
    • 50 Mick LaSalle
    It's not bad. It's cute.
    • 50 Metascore
    • 50 Mick LaSalle
    The movie is just good enough to make us want more and to understand what's missing.
    • 42 Metascore
    • 50 Mick LaSalle
    Sanctum is by no means a badly made movie, but it has the feel of one of those dramatic re-enactments made exclusively for Imax theaters.
    • 69 Metascore
    • 50 Mick LaSalle
    In the end, Crash lacks a cumulative impact. It takes audiences to new places, but we've all been to similar places, and we walk out knowing no more than we did walking in.
    • 64 Metascore
    • 50 Mick LaSalle
    For the most part, it's fairly pleasant and interesting enough to be there.
    • 45 Metascore
    • 50 Mick LaSalle
    Hall Pass attempts to take the Farrellys' harsh humor and bring it into harmony with what has become the modern comic style, which is to be coarse but not absurd, to be brutally honest but real.
    • 49 Metascore
    • 50 Mick LaSalle
    Mars Needs Moms floats about 45 minutes' worth of story in an 88-minute ocean.
    • 76 Metascore
    • 50 Mick LaSalle
    This latest adaptation of the Charlotte Brontë novel is careful, respectful and even enjoyable, and yet dry, singularly humorless and played without the lavishness of spirit that makes sense of Gothic melodrama.
    • 33 Metascore
    • 50 Mick LaSalle
    Though Zack Snyder is known as an action director, he is a genuine artist and one of the most exciting and promising filmmakers to emerge in the past 10 years. His new movie, Sucker Punch - let's just say it - is a failure, but there's so much talent on that screen that the movie can't be dismissed as a waste of time.
    • 41 Metascore
    • 50 Mick LaSalle
    Hop
    The most notable thing about Hop is its technical perfection. It puts live action and animation into the same frame so seamlessly that the filmmakers might easily not get credit for it.
    • 52 Metascore
    • 50 Mick LaSalle
    The movie is hampered throughout by little inconsistencies.
    • 36 Metascore
    • 50 Mick LaSalle
    The movie lacks joy. It has poignancy and intelligence, and it holds interest, but it never opens up into happiness and fantasy. Maybe it's the recession.
    • 65 Metascore
    • 50 Mick LaSalle
    Still, those who meet the movie on its own terms and don't expect a masterpiece may appreciate the commitment of Wright and the actors. Blanchett goes out of her way, for example, to be repellent here.
    • 49 Metascore
    • 50 Mick LaSalle
    Henry's Crime has three charismatic actors - Reeves, Vera Farmiga and James Caan - in search of a decent script, and what they find, instead, are a handful of good scenes and lots of room to build their respective characters.
    • 28 Metascore
    • 50 Mick LaSalle
    The story, a dystopian tale with heroes and villains and lots of triumphs and reversals, is so busy and so inherently interesting that the movie is entertaining until the finish - or the sort of finish. As only the first part of the story, Atlas Shrugged doesn't end, it stops.
    • 51 Metascore
    • 50 Mick LaSalle
    The result is a movie that one watches with the sense of pushing it up a hill.
    • 36 Metascore
    • 50 Mick LaSalle
    Goodwin radiates probity and makes waiting almost look interesting, and so, for all the movie's awkwardness, it remains watchable.
    • 49 Metascore
    • 50 Mick LaSalle
    Though it's only 72 minutes, by the time it's over, you'll be ready for it to end. Still, as a glimpse of the Arab world right before the Arab Spring, this documentary may be of some lasting interest.
    • 41 Metascore
    • 50 Mick LaSalle
    I had a migraine when I started watching Larry Crowne, and by the end, it went away. None of this quite adds up to a recommendation, but it's close. Very close.
    • 30 Metascore
    • 50 Mick LaSalle
    As far as complete wastes of time go, Zookeeper is not especially offensive. Yet it is surprising that everything you might expect to be charming in it just isn't - namely all the bits involving animals.
    • 57 Metascore
    • 50 Mick LaSalle
    Horrible Bosses has a handful of hilarious moments, but it's not exactly funny and not exactly serious, either.
    • 59 Metascore
    • 50 Mick LaSalle
    Structurally, this becomes a little monotonous because there's just no denying that some kids are more interesting than others.
    • 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.
    • 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.

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