For 2,535 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 Moonlight
Lowest review score: 0 Pumpkin
Score distribution:
2535 movie reviews
    • 48 Metascore
    • 50 Mick LaSalle
    Suffers from the bloat common to sequels.
    • 37 Metascore
    • 50 Mick LaSalle
    The film's basic material, that is the history, is not without interest. And it must be admitted that every so often - for about 10 seconds every 10 minutes - we get a hint of the movie they wanted to make and hoped they were making: One about the thrill of early aviation and the promise of a young century.
    • 33 Metascore
    • 50 Mick LaSalle
    There's a psychological undercurrent. The movie occupies a zone where science fiction and nightmares collide and intertwine.
    • 42 Metascore
    • 50 Mick LaSalle
    This vaguely funny film is also the saddest and most depressing movie of 2013.
    • San Francisco Chronicle
    • 49 Metascore
    • 50 Mick LaSalle
    A perfectly OK drama, with a good cast and many good scenes, but it suffers from the usual maladies that films get when they've been out on the ranch too long: all-too-obvious symbolism and a serious case of the longueurs.
    • 54 Metascore
    • 50 Mick LaSalle
    Lucas knows his fans are un-boreable, un-annoyable and inexhaustible. For an artist, that's more a curse than a blessing.
    • 64 Metascore
    • 50 Mick LaSalle
    The thinking part of this thriller needs work. It's not nearly as intelligent, thoughtful or penetrating as it promises to be.
    • 53 Metascore
    • 50 Mick LaSalle
    There is no denying that every time Gyllenhaal steps into a frame she takes a sleeping movie and wakes it up.
    • 27 Metascore
    • 50 Mick LaSalle
    How one likes Taxi has everything to do with how one responds to the hapless cop character, played by Jimmy Fallon.
    • 80 Metascore
    • 50 Mick LaSalle
    The new Ridley Scott movie is fascinating and charming and crammed and overstuffed, and it’s a curious case, too. It gets all the seemingly hard things wonderfully right, but then caves in at points that should have been easy.
    • 48 Metascore
    • 50 Mick LaSalle
    Divine cast keeps 'Ya-Ya Sisterhood' from falling flat
    • 45 Metascore
    • 50 Mick LaSalle
    Yet there's no getting around one awkward fact. The picture, which turns on a cataclysmic act of terrorism within U.S. borders, was made for a different audience from the one that's about to see it.
    • 45 Metascore
    • 50 Mick LaSalle
    Compared with other Jane Austen movies, it isn’t much, but compared with other zombie apocalypse movies, it’s an intelligent, literate effort.
    • 51 Metascore
    • 50 Mick LaSalle
    Finding Amanda is a minor movie for Broderick, but considering where it takes him, it's understandable why he took the role.
    • 62 Metascore
    • 50 Mick LaSalle
    What's particularly weird about Godzilla is that for long stretches, all it shows is destruction.
    • 48 Metascore
    • 50 Mick LaSalle
    Pleasing but routine British comedy.
    • 58 Metascore
    • 50 Mick LaSalle
    It has an affectionate aura, a warmth to it. But at the same time, the audience is left standing on the outside, almost as though watching a home movie: Clearly, this meant something to the people who made it, but it's hard to say what or why.
    • 56 Metascore
    • 50 Mick LaSalle
    How could a little story like this get stretched to 124 minutes? It's at least 30 minutes too long.
    • 70 Metascore
    • 50 Mick LaSalle
    Young Benny has a nice smile, and she and Jack seem like pleasant people, but in the end (and in the beginning and in the middle) it's hard to get worked up about them.
    • 61 Metascore
    • 50 Mick LaSalle
    The results are mixed. Many of the films are too long, and even worse, the collection as a whole doesn't come to grips with the human scale of the tragedy.
    • 57 Metascore
    • 50 Mick LaSalle
    The film is engaging but also has a certain creaking familiarity.
    • 44 Metascore
    • 50 Mick LaSalle
    The story has its moments, and yet there is something about this tale of a serial killer's patterning his crimes on Poe's most gruesome works that doesn't completely satisfy.
    • 57 Metascore
    • 50 Mick LaSalle
    Some of the elements in the film are inexplicable and some are undeveloped, but there are a handful of nicely crafted set pieces.
    • 70 Metascore
    • 50 Mick LaSalle
    An intelligent movie that portrays the mighty without reverence.
    • 54 Metascore
    • 50 Mick LaSalle
    An American reissue, with a fresh new soundtrack and all the dialogue dubbed.
    • 54 Metascore
    • 50 Mick LaSalle
    Booty Call never quite gets tiresome, thanks to the appealing cast and its sexy-goofy spirit. The picture succeeds in finding jokes within jokes.
    • 56 Metascore
    • 50 Mick LaSalle
    It's really not bad... It's a genuine vault at greatness that misses the mark -- but survives.
    • 69 Metascore
    • 50 Mick LaSalle
    Nothing in the story feels specific to that California city, or emblematic of it.
    • 64 Metascore
    • 50 Mick LaSalle
    Within the realm of a mildly good time.
    • 55 Metascore
    • 50 Mick LaSalle
    Can't be dismissed. Yet something keeps this movie from being completely satisfying: a disconnect between the plot and the point.
    • 51 Metascore
    • 50 Mick LaSalle
    Not the usual action movie. It's too odd for that. Based on a true story, it has the weirdness of real life, which is good. But also like real life, it has that funny way of not making much sense or being all that enjoyable.
    • 68 Metascore
    • 50 Mick LaSalle
    It has scale, spectacle and a cast of good actors who seem to believe in what they’re doing. But the movie springs to life only in spurts.
    • 59 Metascore
    • 50 Mick LaSalle
    No doubt this seeming effortlessness was hard-won. Movies this smooth don't happen by accident.
    • 44 Metascore
    • 50 Mick LaSalle
    Pleasing and occasionally very funny movie that maintains a mild but consistent hold on its audience.
    • 41 Metascore
    • 50 Mick LaSalle
    An occasionally charming, sometimes amateurish film .
    • 40 Metascore
    • 50 Mick LaSalle
    Aloha shows how far a movie can go on charm alone.
    • 43 Metascore
    • 50 Mick LaSalle
    Running mainly on adrenaline and a gimmick, it's different from other holiday movies in that it's not ambitious, earnest or overblown, and it obviously wasn't made with one eye on the Oscars.
    • 37 Metascore
    • 50 Mick LaSalle
    Gimme Shelter is an attempt at something grand, and though it doesn't get halfway there, it covers some ground.
    • 48 Metascore
    • 50 Mick LaSalle
    Clearly, this is something rare: a movie that insulates itself against its own rottenness by being lousy by design.
    • 55 Metascore
    • 50 Mick LaSalle
    There's talent here, but for directing, not writing. If Ritchie wants to last, he's going to have to allow somebody else to write his screenplays.
    • 62 Metascore
    • 50 Mick LaSalle
    As a visit to a world and a way of life most of us will never experience, American History X is vivid, and it feels honest. At the very least, it's not typical.
    • 82 Metascore
    • 50 Mick LaSalle
    There is no diverting from strict chronology, no point the documentary wants to make that requires moving forward and back through time. It just inches ahead, one year to another, sometimes one day to another. By the middle, each time a year changes, it's a relief.
    • 57 Metascore
    • 50 Mick LaSalle
    Starts off with a burst of energy but becomes tedious midway through.
    • 58 Metascore
    • 50 Mick LaSalle
    A film made with high aspirations and more than the usual commitment but one that, after an arresting beginning, changes into a passive rumination.
    • 44 Metascore
    • 50 Mick LaSalle
    Has an oddness and whimsicality about it that can, at first, be confused for authenticity.
    • 65 Metascore
    • 50 Mick LaSalle
    In a blind taste test, I couldn't possibly have identified this as a Linklater movie, and he's a filmmaker I generally like. If anything, Bad News Bears shows that Linklater can get in and out of a movie like a cat burglar, without leaving his fingerprints anywhere. OK, he's proven it. He need never do that again.
    • 53 Metascore
    • 50 Mick LaSalle
    Amiable though slow-going.
    • 58 Metascore
    • 50 Mick LaSalle
    The movie is a fantasy, and the choice is either share the fantasy or don't participate.
    • 39 Metascore
    • 50 Mick LaSalle
    The action is difficult to follow.
    • 61 Metascore
    • 50 Mick LaSalle
    For all its sensitivity to the horrors of mental illness, The Soloist ends up as a fairly canned piece of work.
    • 76 Metascore
    • 50 Mick LaSalle
    Midnight Special is a sincere movie, but sometimes sincerity is half the problem.
    • 60 Metascore
    • 50 Mick LaSalle
    The people who made this film -- particularly the ones responsible for the story and the dialogue -- should look no further when trying to understand why In Her Shoes lands with such little impact. The characters seem authentic -- until the chick-flick template distorts them.
    • 76 Metascore
    • 50 Mick LaSalle
    The picture is a soggy, all-over-the- place mess.
    • 82 Metascore
    • 50 Mick LaSalle
    A fine ensemble piece, but a maddening and unjustified length.
    • 64 Metascore
    • 50 Mick LaSalle
    The tone is both satiric and serious, zany but heartfelt, and for a while - maybe 20 minutes - all seems well.
    • 43 Metascore
    • 50 Mick LaSalle
    There's no buildup and little shape. Scenes are strong, but the movie as a whole flags.
    • 51 Metascore
    • 50 Mick LaSalle
    It's one thing for a romantic comedy to be predictable - they all end at the same destination, after all. But it's quite another thing to be predictable at every twist and turn of the story.
    • 71 Metascore
    • 50 Mick LaSalle
    This is all good movie material, so far as it goes ... but Get on Up can't go any further. Sometimes damaged people stay damaged, and sometimes popular artists make their contribution and then stay in one place forever. It's a big letdown for everybody, but in a biopic, it's poison.
    • 58 Metascore
    • 50 Mick LaSalle
    Though Man on the Moon is lost when it comes to Kaufman's inner life and motivations, it offers a detailed account of his career.
    • 33 Metascore
    • 50 Mick LaSalle
    A strange good movie, bad in every way but its effect. And it’s an effective woman’s story, not exactly believable, but with another kind of truth, a truth of the heart. If that’s not enough, it’s close.
    • 56 Metascore
    • 50 Mick LaSalle
    Thanks to him (Neeson), I not only enjoyed Non-Stop, but I'd watch it again. Particularly on a plane.
    • 45 Metascore
    • 50 Mick LaSalle
    To put it simply, people may be right and people may be wrong, but there are no right races or wrong races. A writer-director who chooses to have characters representing race and not themselves alone paints himself into a corner in which everyone in the movie absolutely must come out all right.
    • 52 Metascore
    • 50 Mick LaSalle
    At its best, the film uses fishing as a window into the internment experience. At its worst, it uses the internment story as the backdrop for a documentary on trout fishing.
    • 49 Metascore
    • 50 Mick LaSalle
    Its virtues can't outweigh the disappointment of a movie that might have been a rousing old-fashioned epic, or better yet a provocative reworking of an old epic, and instead became a muddle.
    • 89 Metascore
    • 50 Mick LaSalle
    It’s sincere and intelligent — but it’s weak as a social statement and even weaker as drama.
    • 59 Metascore
    • 50 Mick LaSalle
    The name of this documentary is Surviving Progress, but that's only because "The Sky Is Falling and We're All Gonna Die" wouldn't fit on a marquee.
    • 37 Metascore
    • 50 Mick LaSalle
    It's fast, snappy and entertaining in a superficial way. But it lacks gravity and authenticity and seems more like a product than an attempt to tell a story.
    • 72 Metascore
    • 50 Mick LaSalle
    12
    No matter how bad things get, you can always be thankful for this: You're not on trial for murder in Russia.
    • 36 Metascore
    • 50 Mick LaSalle
    If anyone wants to watch naked men in the shower, naked men doing erotic dancing, naked men in bed and almost-naked men pumping iron, this is the film to see.
    • 23 Metascore
    • 50 Mick LaSalle
    In the end it all seems a little too glib, too easy and not quite true.
    • 50 Metascore
    • 50 Mick LaSalle
    An average action film, made slightly better by Cruise, and more bizarre by Herzog, and more watchable by Pike, but still within the average range, a silk purse that still says oink.
    • 79 Metascore
    • 50 Mick LaSalle
    It's a slow-moving fable, with enough story and substance to make for one amazing Imax short. Instead the material is stretched beyond its limits into a long, repetitive and often stagnant 127-minute feature film.
    • 36 Metascore
    • 50 Mick LaSalle
    It would be a mildly lovely thing to be able to say the movie isn't bad. But it is.
    • 51 Metascore
    • 50 Mick LaSalle
    It's a meandering and rather aimless movie that would be considered trite if made by another filmmaker, and yet it has such a family resemblance to other, better Woody Allen movies that it's easy to stick with it and enjoy it.
    • 46 Metascore
    • 50 Mick LaSalle
    Cusack should have been half the picture, but the screenplay keeps shoving him offstage for no good reason, and it's a mistake. One of many.
    • 75 Metascore
    • 50 Mick LaSalle
    Robert Downey Jr. gets to remind everybody that before this blockbuster turn he was actually a serious actor and may still be again. Stark’s frustration at the rigidity and short-sightedness of his confreres and his anguish at where it all leads are vivid and felt.
    • 59 Metascore
    • 50 Mick LaSalle
    Would have been a stronger movie if it didn't require a strong cup of coffee going in.
    • 77 Metascore
    • 50 Mick LaSalle
    The film is dreadfully slow without much in the way of rewards.
    • 45 Metascore
    • 50 Mick LaSalle
    As depicted here, the political story becomes convoluted and dramatically inert.
    • 58 Metascore
    • 50 Mick LaSalle
    Often the movie seems like a lot of empty-headed blather, with one side hating the First Amendment and the other side unable to find a better use for it but to say the f-word.
    • 77 Metascore
    • 50 Mick LaSalle
    Worthy but dull.
    • 62 Metascore
    • 50 Mick LaSalle
    Has warmth and integrity, but it lacks the urgency of a story that had to be told.
    • 51 Metascore
    • 50 Mick LaSalle
    Fails to engage.
    • 55 Metascore
    • 50 Mick LaSalle
    A creeping equanimity is taking over the work of John Sayles, a quality that in personal terms might be wise and coolheaded but in terms of drama is absolute death.
    • 57 Metascore
    • 50 Mick LaSalle
    For almost an hour, it keeps us off balance. But once we find that balance, the movie seems to coast.
    • 68 Metascore
    • 50 Mick LaSalle
    Yet Apocalypto has to be respected for the sheer audacity of it, for the commitment and ambition behind it, and for its presentation of a complete other world. It is the furthest thing from a cynical or casual piece of work. It's crazy, and it moves.
    • 75 Metascore
    • 50 Mick LaSalle
    What makes Middle of Nowhere a break-even proposition, rather than something to avoid, is that it deals with an aspect of life and with characters rarely seen in movies.
    • 80 Metascore
    • 50 Mick LaSalle
    By the end, a sense settles in that Whale Rider could have accomplished as much -- and been considerably more powerful -- as a 25- minute short.
    • 56 Metascore
    • 50 Mick LaSalle
    Maher makes Michael Moore look incredibly likable in comparison.
    • 39 Metascore
    • 50 Mick LaSalle
    A clever, atmospheric romantic drama that lacks something.
    • 36 Metascore
    • 50 Mick LaSalle
    The result is a children's movie that's almost worth seeing even when not accompanied by a child. It's certainly a painless experience, and at times it's quite funny.
    • 59 Metascore
    • 50 Mick LaSalle
    A so-so movie you just might want to see more than once. It belongs in a strange category: a film that can’t quite be called a success, that has too many dead spots, that doesn’t quite hang together or satisfy, and that yet is more interesting and occupies more space in the mind than other movies that are ostensibly and even unquestionably better.
    • 66 Metascore
    • 50 Mick LaSalle
    For all its surface seriousness, Splice is a regulation monster movie. So however somber it gets, it's never truly thought-provoking, and however outrageous it gets, it's still always 20 minutes behind the audience. It's just too dumb to be serious and too slow to be entertaining. Read more: http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2010/06/03/MVKJ1DOO26.DTL#ixzz0pqYvhKuF
    • 45 Metascore
    • 50 Mick LaSalle
    Not for a minute is Mad City anything less than entertaining. Yet it becomes frustrating nonetheless. Its ideas gradually seem to be at cross-purposes -- not complex, not tantalizingly ambiguous, but tangled and undefined.
    • 30 Metascore
    • 50 Mick LaSalle
    There is one thing interesting about Alex Cross, and if you miss this, you've missed the whole movie. It's not the story - it's worse than mediocre. It's not the lead actor - nothing wrong with Tyler Perry, but as an action star he's no Vin Diesel. And it's not the dialogue, which has a clunker every other scene. It's the direction. Notice the direction. Alex Cross is a good example of what a seriously talented director can do with a heaping pile of garbage.
    • 49 Metascore
    • 50 Mick LaSalle
    Audiences will walk away thinking, "What was that?" But they will walk away thinking.
    • 70 Metascore
    • 50 Mick LaSalle
    Has the usual overlong running time, the half-hearted feints in the direction of human feeling and the obligatory action sequences that are big without being either exciting or particularly legible.
    • 79 Metascore
    • 50 Mick LaSalle
    If you see the movie, notice how the ending is no ending, and the fact that it even feels like one is entirely a function of Michael Giacchino's musical score.
    • 27 Metascore
    • 50 Mick LaSalle
    Fascinating in its own strange way, not as entertainment but as a cultural document.
    • 61 Metascore
    • 50 Mick LaSalle
    Overlong, overplotted and underdrawn.
    • 64 Metascore
    • 50 Mick LaSalle
    As a piece of filmmaking, Where to Invade Next gets off to a strong start and then sags in the last half hour, but it makes a lot of interesting points and, in the way it shows other countries, conveys something about the United States.
    • 37 Metascore
    • 50 Mick LaSalle
    Crush is that strange mixed bag -- an otherwise wretched movie in which an actress gets to do some of her best work.
    • 54 Metascore
    • 50 Mick LaSalle
    The movie is achingly slow, and by the time it's over, the story is about where it should have been after about 45 minutes. Then it ends just as it gets good, or as it's starting to.
    • 51 Metascore
    • 50 Mick LaSalle
    How to Be Single is over a half hour before it’s over.
    • 54 Metascore
    • 50 Mick LaSalle
    Bigger is not always better. Thor: The Dark World pumps up the action and special effects and loses some of the human element that made the original "Thor" something charming and unexpected. True, this sequel gets better as it goes along, but that's a very steep climb just to arrive at not bad.
    • 49 Metascore
    • 50 Mick LaSalle
    It's just a simple thriller whose goal is little more than to keep moving.
    • 61 Metascore
    • 50 Mick LaSalle
    Just one big wipeout.
    • 57 Metascore
    • 50 Mick LaSalle
    The picture is willfully gross, fundamentally stupid and in no way worth the discomfort of watching it. Yet it may be the most well-crafted piece of garbage this year.
    • 81 Metascore
    • 50 Mick LaSalle
    It's dull in the precise way that life can be dull. To watch it is like sitting in on a staff meeting, listening to people talk on and on and on. Professors are used to talking nonstop, and in a few cases in At Berkeley it's rather astonishing to hear them repeating the same ideas over and over, instead of just coming to a point and stopping.
    • 60 Metascore
    • 50 Mick LaSalle
    Segerstedt's anti-Nazi stand is the only reason to be interested in him, and yet half the movie is about his domestic life.
    • 56 Metascore
    • 50 Mick LaSalle
    There's something in Ned Kelly' that's lost in the translation from Australia to America, and the overly emotional film score is just a symptom.
    • 64 Metascore
    • 50 Mick LaSalle
    For the most part, it's fairly pleasant and interesting enough to be there.
    • 59 Metascore
    • 50 Mick LaSalle
    Woo's aggressive, cartoony attack in the film, which makes for its biggest delights, also wipes out whatever chance it might have had of making an emotional impact.
    • 64 Metascore
    • 50 Mick LaSalle
    Only when it makes the claim for Page as a pivotal figure in American culture does it overstate the case and become tiresome.
    • 33 Metascore
    • 50 Mick LaSalle
    Everything in the movie is suffused by a vision of life that is resoundingly and evidently false, but as this vision is not repulsive, but is intended to reassure, the lies don’t produce anger or frustration. No, they bring on the laughs.
    • 50 Metascore
    • 50 Mick LaSalle
    It has verve, color and energy, but there's something fundamentally bogus about it.
    • 65 Metascore
    • 50 Mick LaSalle
    Inventive and intermittently amusing.
    • 61 Metascore
    • 50 Mick LaSalle
    In many ways a beautiful movie, and yet in other ways it’s not very good at all. As an achievement in stop-motion animation, it’s stunning — seamless and detailed, so perfectly done that it’s easy to forget that you’re witnessing skill and not magic.
    • 59 Metascore
    • 50 Mick LaSalle
    As Bilbo, Freeman is a pleasure to watch to the extent we get to watch him. His timing is brilliant — he gets the movie’s only laughs. He has tremendous sensitivity and an ability to seem like he’s about to say something — and then convey it without saying it. He could have made a great Bilbo. Instead he’s the one thing that has made this trilogy bearable.
    • 52 Metascore
    • 50 Mick LaSalle
    The first half of My Worst Nightmare contains some of the best comedy and the biggest laughs of the season, and the second half ... eh.
    • 19 Metascore
    • 50 Mick LaSalle
    This is the weird thing, Old Dogs is not that bad.
    • 64 Metascore
    • 50 Mick LaSalle
    Clearly, an effort was made to create a serious, thoughtful movie.
    • 69 Metascore
    • 50 Mick LaSalle
    Long before the finish, Man From Reno has flat-lined.
    • 72 Metascore
    • 50 Mick LaSalle
    Heartfelt but somewhat bloated documentary that's partly an homage and partly a literary mystery.
    • 65 Metascore
    • 50 Mick LaSalle
    Try as it might, the movie is hardly profound, and the murky atmosphere and the leaden pace drag things down.
    • 32 Metascore
    • 50 Mick LaSalle
    The film is fun and extreme, and though in the end rather pointless, there’s a certain audacity here — a delight in extremity — that’s appealing.
    • 52 Metascore
    • 50 Mick LaSalle
    If only the explanation and resolution of the action were more compelling, Dark Water might have been a thriller of the first order.
    • 62 Metascore
    • 50 Mick LaSalle
    The film is always at least mildly interesting, because international arms dealing is a fairly compelling issue, but it's never as informative as a good documentary nor as engrossing as a good narrative. It's a hybrid that's frustrating in two distinct ways.
    • 67 Metascore
    • 50 Mick LaSalle
    A frustrating film that feels cobbled together.
    • 45 Metascore
    • 50 Mick LaSalle
    Two Night Stand has its moments. But moments are all this movie has — and all its characters are likely to get.
    • 78 Metascore
    • 50 Mick LaSalle
    Neither does it help that, despite the wit and literacy of Enough Sad, its form is straight out of a teen romance: A cool kid starts dating someone less cool, and then engages in some elaborate deception that, if found out, will threaten the progress of young love. The funny thing is, if Enough Said were converted wholesale into a high school romance, the characters' behavior might ring more true.
    • 51 Metascore
    • 50 Mick LaSalle
    The result is a movie that one watches with the sense of pushing it up a hill.
    • 66 Metascore
    • 50 Mick LaSalle
    An elegant-looking picture, carefully made and beautifully put together, but when the gloss wears off, you're left with an experience that doesn’t quite satisfy. [5 Oct 1990, Daily Datebook, E10]
    • San Francisco Chronicle
    • 58 Metascore
    • 50 Mick LaSalle
    It could have been something special, but two things drag it down to mediocrity -- director Clare Peploe's misunderstanding of Marivaux's rhythms, and Mira Sorvino's limitations as a classical actress.
    • 54 Metascore
    • 50 Mick LaSalle
    Too labored and cliched to incite passion in an audience.
    • 52 Metascore
    • 50 Mick LaSalle
    A film one watches at an emotional remove, but from that distance there are sights and moments to appreciate.
    • 66 Metascore
    • 50 Mick LaSalle
    In making the movie, writer-director John Ridley had to negotiate with the Hendrix legend — that is, reality had to accommodate audience expectation. In that sense, Jimi: All Is by My Side does a reasonable job.
    • 41 Metascore
    • 50 Mick LaSalle
    Benefits from Smith and Lawrence's chemistry. As long as they're on screen together, things breeze along. But when they're apart, the movie flounders.
    • 77 Metascore
    • 50 Mick LaSalle
    One must be very, very, very, very, very interested in Yorkshire, circa 1980, to embrace and enjoy The Red Riding Trilogy. And yet ... there is something to be said for an enterprise this specific and uncompromising.
    • 45 Metascore
    • 50 Mick LaSalle
    A Cinderella story with star appeal going for it and everything else against it.
    • 63 Metascore
    • 50 Mick LaSalle
    Entertaining, but it's about one notch below being something anybody really needs to see.
    • 47 Metascore
    • 50 Mick LaSalle
    With In the Heart of the Sea, director Ron Howard has given us a painstakingly crafted bore, a lovingly rendered snooze, and a very expensive means by which audiences can experience restless leg syndrome before being carted off to the land of happy slumber.
    • 56 Metascore
    • 50 Mick LaSalle
    Joy
    Joy never completely loses its way. But it almost does, and it never quite arrives.
    • 61 Metascore
    • 50 Mick LaSalle
    The terseness of Hosseini's prose has been replaced by the sentimentality of the director's approach.
    • 90 Metascore
    • 50 Mick LaSalle
    Her
    The story is too slender for its two-hour running time, and the pace is lugubrious, as though everyone in front and behind the camera were depressed. But the biggest obstacle is the protagonist (Joaquin Phoenix), who is almost without definition.
    • 40 Metascore
    • 50 Mick LaSalle
    A little like spending the holidays with strangers. The spirits are high, the relationships are warm, the personal stories have a shared history, and even though you're on the outside of things, you appreciate the people in a remote and perhaps admiring sort of way. Still, when it's time to leave, you're not sorry.
    • 41 Metascore
    • 50 Mick LaSalle
    Hop
    The most notable thing about Hop is its technical perfection. It puts live action and animation into the same frame so seamlessly that the filmmakers might easily not get credit for it.
    • 81 Metascore
    • 50 Mick LaSalle
    As a movie about mental illness, Silver Linings Playbook is more lightweight than lighthearted. But thanks to Lawrence, it does one good thing most movies don't do. It actually gets better as it goes along.
    • 52 Metascore
    • 50 Mick LaSalle
    The movie is hampered throughout by little inconsistencies.
    • 46 Metascore
    • 50 Mick LaSalle
    The enormous, make-or-break things are perfectly in place, and just that is enough for a reasonably enjoyable movie. But plot problems, some comically weak dialogue, repetitious scenes and a non-ending ending keep the experience a little more earthbound than it had to be.
    • 36 Metascore
    • 50 Mick LaSalle
    Just another bloody cop thriller.
    • 83 Metascore
    • 50 Mick LaSalle
    The result is a beautiful void, a structureless emptiness buoyed by some good scenes and performances.
    • 59 Metascore
    • 50 Mick LaSalle
    The picture is also the story of one character in particular, Bobby, and when it comes to Bobby, A Home at the End of the World is sappy and bogus.
    • 66 Metascore
    • 50 Mick LaSalle
    A hit- and-miss affair, consistently amusing but not as outrageous or funny as Cho may have intended or as imaginative as one might have hoped.
    • 49 Metascore
    • 50 Mick LaSalle
    Despite the title, Ismailos' documentary is not a study of what constitutes great direction. Rather it's a nicely arranged film in which a variety of filmmakers Ismailos likes discuss their inspirations and influences.
    • 47 Metascore
    • 50 Mick LaSalle
    The acting is fine. The ensemble is strong. The story moves along. Yet a coating of sleaze clings to the film, like bread dipped in batter.
    • 70 Metascore
    • 50 Mick LaSalle
    A hit-and-miss affair, or, to be more precise, a miss (story one), hit (story two) and break even (story three) affair.
    • 50 Metascore
    • 50 Mick LaSalle
    The movie is just good enough to make us want more and to understand what's missing.
    • 64 Metascore
    • 50 Mick LaSalle
    Best of all is the work of Gillian Jones, who shows up in one scene as "Grandma."
    • 59 Metascore
    • 50 Mick LaSalle
    Structurally, this becomes a little monotonous because there's just no denying that some kids are more interesting than others.
    • 56 Metascore
    • 50 Mick LaSalle
    The opening is spectacular, but the rest is fairly routine.
    • 24 Metascore
    • 50 Mick LaSalle
    A disappointment, but it's not a disaster, and that's at least something.
    • 51 Metascore
    • 50 Mick LaSalle
    Despite some feints in a soulful direction, the picture has none of the interior quality of a multifaceted war film like Terrence Malick's "The Thin Red Line." Woo is all about elegant surfaces, not inner conflicts.
    • 54 Metascore
    • 50 Mick LaSalle
    More thoughtful and pleasing to the eye than any blockbuster in recent memory, but its epic length comes without an epic reward. It's a slow ride to the same old place, nonstop action, accelerating in scale, culminating in the smirking promise of a sequel.
    • 42 Metascore
    • 50 Mick LaSalle
    This is a monster movie -- 92 minutes, lots of action, lots of green legs stomping, get in, get out.
    • 43 Metascore
    • 50 Mick LaSalle
    Follows a predictable format.
    • 33 Metascore
    • 50 Mick LaSalle
    Mindhunters is as effective as a movie can be and yet still be 100 percent forgettable.
    • 13 Metascore
    • 50 Mick LaSalle
    Great trash, one of those mediocre movies that in its own crass way is more enjoyable than most things that get nominated for Oscars.
    • 69 Metascore
    • 50 Mick LaSalle
    In terms of story and emotional power, Brave comes up short.
    • 46 Metascore
    • 50 Mick LaSalle
    Even apart from the fact that it's not nearly funny enough, Bruce Almighty is a peculiar film.
    • 18 Metascore
    • 50 Mick LaSalle
    Perry isn't the only thing wrong with Serving Sara, but he's the thing that takes a pleasantly mediocre movie and turns it into an unpleasantly mediocre one.
    • 71 Metascore
    • 50 Mick LaSalle
    There's a dignity about it, and it's only later that we come to realize that this dignity is misplaced, born of a fatal reserve and a lack of complete investment.
    • 62 Metascore
    • 50 Mick LaSalle
    Violent and nonsensical, with story elements in contradiction, it is lifted up by the efforts of the actors, who try to put a human face on the blockbuster machinery and almost succeed.
    • San Francisco Chronicle
    • 66 Metascore
    • 50 Mick LaSalle
    Eye-catching and entertaining but less inspired than the original.
    • 38 Metascore
    • 50 Mick LaSalle
    A little too corny to endorse fully, but no one should be discouraged from seeing it.
    • 60 Metascore
    • 50 Mick LaSalle
    A pleasant enough "Crimes of the Heart" rip-off about three young women bumbling, stumbling and fumbling through life, looking for answers, smiling through tears, blah, blah, blah. [21 Oct 1988]
    • San Francisco Chronicle
    • 65 Metascore
    • 50 Mick LaSalle
    This is the best disappointing movie you will see all year.
    • 74 Metascore
    • 50 Mick LaSalle
    The movie makes a point, but it doesn’t build on it. And so the movie becomes as dull and depressing for us as it must be for the central character.
    • 41 Metascore
    • 50 Mick LaSalle
    Uninvolving. Even the sex is boring. Are these scenes supposed to be wildly erotic? If they are, they don't work. [20 Mar 1992, Daily Notebook, p.D1]
    • San Francisco Chronicle
    • 51 Metascore
    • 50 Mick LaSalle
    John Lennon once said that because he was an artist, if you gave him a tuba, he could get something out of it. The Face of Love presents us with Annette Bening and Ed Harris playing the tuba. They get something out of it - they get everything there is to get and more - but it's not enough.
    • 48 Metascore
    • 50 Mick LaSalle
    An almost successful comedy.
    • 40 Metascore
    • 50 Mick LaSalle
    Homefront has craft and humor behind it, but not much in the way of inspiration. Think of a dessert with lots of calories and no nutrition.
    • 34 Metascore
    • 50 Mick LaSalle
    It is a boilerplate action comedy.
    • 67 Metascore
    • 50 Mick LaSalle
    July also narrates the film, in voiceover, as the cat, and every time she does, it's a white-knuckle thing. You have to hold on until she stops.
    • 48 Metascore
    • 50 Mick LaSalle
    Black Nativity is a just-OK feature film that, as an hour-long television special, could have had the makings of a classic.
    • 64 Metascore
    • 50 Mick LaSalle
    If you like this sort of movie - and actually, cards on the table, I like this kind of movie - you will not be sorry you saw it. But you will not come away from the experience feeling that you've seen Victoria, young or otherwise.
    • 71 Metascore
    • 50 Mick LaSalle
    An adaptation not firing on all cylinders.
    • 80 Metascore
    • 50 Mick LaSalle
    Wild Reeds is a sober, heartfelt piece of work, sensitively directed and lovingly photographed -- though slightly dull, if we're going to be perfectly honest.
    • 67 Metascore
    • 50 Mick LaSalle
    A big fizzle.
    • 56 Metascore
    • 50 Mick LaSalle
    The movie is reasonably entertaining, though it helps to be 6 years old.
    • 81 Metascore
    • 50 Mick LaSalle
    All this is interesting, or interesting enough, depending on how you feel about Elaine Stritch. If you're a particular fan, this documentary is a must-see. But for everyone else, a little of Elaine's personality goes a long way.
    • 43 Metascore
    • 50 Mick LaSalle
    Kingpin has nastiness going for it. There are prosthesis jokes, bad-teeth jokes, ugly-women jokes, sight gags involving vomiting, etc.
    • 68 Metascore
    • 50 Mick LaSalle
    The movie drags.
    • 76 Metascore
    • 50 Mick LaSalle
    The movie makes something of a case for him, in that he is quite a good piano player, with absolute command of the blues, country and rock idioms, but there isn’t enough here to make someone a fan who isn’t already interested.
    • 62 Metascore
    • 50 Mick LaSalle
    A merry, wistful, tear-and-a-smile romp about the Holocaust, of all things.
    • 92 Metascore
    • 50 Mick LaSalle
    Anderson almost brings off a picture worthy of his grandiose ambition.
    • 30 Metascore
    • 50 Mick LaSalle
    A movie that has two good ideas. It needed three.
    • 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.
    • 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.
    • 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?
    • 50 Metascore
    • 50 Mick LaSalle
    Therapy for a Vampire has nothing to say. It just has stuff happening, none of it repulsive and all of it performed by competent actors, but that’s just not enough.
    • 44 Metascore
    • 50 Mick LaSalle
    The movie itself is just a routine showcase, modest in its aspiration and effective within its limits, entertaining in the moment but, in the end, faintly silly. On the plus side, it's only 86 minutes long.
    • 41 Metascore
    • 50 Mick LaSalle
    An entertaining film for kids and young teens. It's also a product of the era in which we're living, and weird times make for weird movies.
    • 44 Metascore
    • 50 Mick LaSalle
    A perfect example of an Intelligent Bad Movie.
    • 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.
    • 55 Metascore
    • 50 Mick LaSalle
    It's all pleasant but fairly unimportant, and then -- POW -- comes the great scene, almost out of nowhere.
    • 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
    • 36 Metascore
    • 50 Mick LaSalle
    A stupid movie -- but a deliriously stupid movie, which gives it a certain grandeur.
    • 57 Metascore
    • 50 Mick LaSalle
    Lacks, a story that makes it feel personal.
    • 68 Metascore
    • 50 Mick LaSalle
    Qualifies as a mild success. It's an easy picture to like, even if it's not exactly satisfying.
    • 50 Metascore
    • 50 Mick LaSalle
    That's a lot of talent and star power at play here, made all the more conspicuous in that they don't really get much to work with. Not only is the movie just so-so, but the parts themselves aren't much.
    • 33 Metascore
    • 50 Mick LaSalle
    It presents a compelling situation, genuinely touching moments and pockets of strong acting ... and dialogue that has people in the audience turning to each other and laughing because it’s so absurd.
    • 42 Metascore
    • 50 Mick LaSalle
    Before it degenerates into a complete mess, it's an entertaining mess, and something about its willingness to please maintains the audience's goodwill throughout.
    • 36 Metascore
    • 50 Mick LaSalle
    Has the strengths and weaknesses of a one-man show.
    • 58 Metascore
    • 50 Mick LaSalle
    As a movie, Escape From Tomorrow is at best pretty good, but the way it was made makes it something unique, possibly memorable.
    • 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
    • 28 Metascore
    • 50 Mick LaSalle
    Had a chance to be not just OK, not just fluff, but something special, and it's a shame that the people making it either didn't realize it or didn't have the guts to take this movie where it wanted to go.
    • 77 Metascore
    • 50 Mick LaSalle
    Self-consciously bleak.
    • 31 Metascore
    • 50 Mick LaSalle
    Delpy and Scott are able to put it over. She's French and deep and mysterious. He's a fresh-faced American, an open book. Liking them makes it possible to (kinda) like this otherwise routine horror movie.
    • 82 Metascore
    • 50 Mick LaSalle
    Though the movie is riddled with memorable scenes of violence, its pace is slow -- too slow. It has an epic sprawl, but it's not an epic. It's more like a bloated fairy tale. [7 Aug 1992]
    • San Francisco Chronicle
    • 63 Metascore
    • 50 Mick LaSalle
    The result is a film of passion and ambition, but one whose success is intermittent at best.
    • 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.
    • 73 Metascore
    • 50 Mick LaSalle
    Now, thanks to A Most Wanted Man, we discover that it's really boring - practically sleep-inducing - to be an international spy.
    • 79 Metascore
    • 50 Mick LaSalle
    As painstaking as a documentary but without the satisfaction of a documentary or the impact of a drama.
    • 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.
    • 65 Metascore
    • 50 Mick LaSalle
    The film is too intelligent and well-crafted to dismiss and too good to hate. Some people will love it, and at worst, most people will like it a little.
    • 51 Metascore
    • 50 Mick LaSalle
    About one idea short of being an excellent teenage romance. As it stands it's a pleasing but routine effort.
    • 60 Metascore
    • 50 Mick LaSalle
    The film remains, clearly by design, a cold piece, mechanistic and only intermittently involving.
    • 17 Metascore
    • 50 Mick LaSalle
    Part of the appeal is that it's so bad it's good: The story is ridiculous. At other times, it's just plain good: There are ski and snowboarding scenes, plenty of them, that are beautifully filmed and exhilarating to behold.
    • 48 Metascore
    • 50 Mick LaSalle
    Everybody in Admission is funny - Tina Fey, Paul Rudd, Lily Tomlin, Wallace Shawn - but they're not funny in Admission.
    • 43 Metascore
    • 50 Mick LaSalle
    His (George Clooney) rugged good looks spell movie star, but his body language spells Don Knotts, without the wit.
    • 57 Metascore
    • 50 Mick LaSalle
    I Origins is at its best when it's a personal story about relationships, and it has a strong first hour.
    • 74 Metascore
    • 50 Mick LaSalle
    It does not follow the usual pattern of a Hollywood film. It goes to places that are desperate and irrevocable.
    • 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.
    • 24 Metascore
    • 50 Mick LaSalle
    A stink bomb of a movie.
    • 67 Metascore
    • 50 Mick LaSalle
    Occasionally brilliant, profiting from Fellini's distinct and unmistakable way of looking and seeing. But it goes in circles and wears out its welcome, except for the most hard-core enthusiasts.
    • 63 Metascore
    • 50 Mick LaSalle
    Fans of Les Misérables wouldn't have minded if the movie were different, but better, or just as effective. The screen version demanded some reconception, some vision to make sense of its existence. Instead, we're left with a film that is conscientious in all its particulars and yet strangely and mysteriously dead.
    • 33 Metascore
    • 50 Mick LaSalle
    Though charming at times, just misses, due to a contrived story.
    • 43 Metascore
    • 50 Mick LaSalle
    Lush and heartfelt, but compelling only in fits and starts.
    • 49 Metascore
    • 50 Mick LaSalle
    It's never boring, but it lacks a cumulative impact.
    • 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.
    • 69 Metascore
    • 50 Mick LaSalle
    An attempt at an epic. Sayles assembles a big cast and creates a mosaic of interweaving characters and story lines. But the stories are bland, the connections are incidental and the dramatic payoff is nonexistent.
    • 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.
    • 36 Metascore
    • 50 Mick LaSalle
    For at least an hour of its hour and a half running time, Fist Fight is a complete failure, a sour comedy without laughs. But then something happens in the movie’s last quarter. It doesn’t exactly redeem itself, but it comes into focus and starts making sense on its own weird terms.
    • 38 Metascore
    • 50 Mick LaSalle
    For all its weaknesses, Terminator Genisys is a "Terminator" movie that feels like a "Terminator" movie, more than did "Terminator 3," not to mention the ghastly "Terminator Salvation."
    • 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.
    • 60 Metascore
    • 50 Mick LaSalle
    A 98-minute elucidation of a point that's accepted within three minutes.
    • 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.
    • 59 Metascore
    • 50 Mick LaSalle
    Alien 3 is pretentious and gimmicky by turns, resorting at times to silly B-movie tricks that undercut its seriousness and moments that can be anticipated from a mile off. [22 May 1992, P.D1]
    • San Francisco Chronicle
    • 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.
    • 47 Metascore
    • 50 Mick LaSalle
    Plays like a war movie made in a time of war: too careful, too programmatic.
    • 55 Metascore
    • 50 Mick LaSalle
    Search for some independent inspiration, and you'll be looking for a long time.
    • 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.
    • 49 Metascore
    • 50 Mick LaSalle
    Needless to say, Soul Men has a lot to overcome in its effort to be funny.
    • 77 Metascore
    • 50 Mick LaSalle
    While We’re Young is one step forward and two steps back for writer-director Noah Baumbach, whose movies are never less than intelligent but, at their worst, tend to settle for gestures instead of movements.
    • 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.
    • 68 Metascore
    • 50 Mick LaSalle
    With Star Trek Beyond, the rebooted “Star Trek” franchise that features the original crew of the Enterprise, settles into routine sequel territory. This isn’t terrible news, and it may have been inevitable, but it’s something of a letdown all at the same.
    • 56 Metascore
    • 50 Mick LaSalle
    Miss Julie has almost everything — good actors, impeccable sets and direction rich in emotional detail — but it lacks madness and passion, and without those elements, it becomes a mere intellectual exercise.
    • 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.
    • 41 Metascore
    • 50 Mick LaSalle
    The picture doesn't come close to approaching the near-classic quality of the earlier film.
    • 81 Metascore
    • 50 Mick LaSalle
    For all the movie's coarse grandeur -- for all the blood in its battle scenes and the grim historical accuracy of its depiction of antediluvian medical procedures -- the story of Master and Commander feels like something intended not for adults but for children.
    • 62 Metascore
    • 50 Mick LaSalle
    Daring and gutless at the same time. It's daring in that it's a romantic movie that's willing to be coarse. It's gutless in that it refuses to paint any of its characters in a negative light, even temporarily.
    • 45 Metascore
    • 50 Mick LaSalle
    Saddest, most hang-dog, most depressing movie possible.
    • 65 Metascore
    • 50 Mick LaSalle
    Despite its general intelligence and worthy performances, Kill Your Darlings makes it difficult to see how the Beats ever caught on.
    • 67 Metascore
    • 50 Mick LaSalle
    What the movie lacks -- a big lack, not a fatal lack -- is a compelling character at its center. Everyone in Garden State is fun, skewed, strange and singular.
    • 55 Metascore
    • 50 Mick LaSalle
    A Korean film that takes an American genre and gets fancy with it.
    • 66 Metascore
    • 50 Mick LaSalle
    It’s not a bad film, just, strangely, not a good one.
    • 69 Metascore
    • 50 Mick LaSalle
    Befuddling.
    • 55 Metascore
    • 50 Mick LaSalle
    The only way Bill Murray could seem less like Franklin D. Roosevelt in Hyde Park on Hudson is if the movie showed him winning a marathon.
    • 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.
    • 64 Metascore
    • 25 Mick LaSalle
    If this is the best we can do in terms of movies - if something like this can speak to the soul of audiences - maybe we should just turn over the cameras and the equipment to the alien dinosaurs and see what they come up with.
    • 51 Metascore
    • 25 Mick LaSalle
    It's one of those self-consciously cute pictures, about as hard to take as a person who stands in front of a mirror and preens all day. [23 Mar 1990, Daily Datebook, p.E1]
    • San Francisco Chronicle
    • 40 Metascore
    • 25 Mick LaSalle
    A useless film in every possible way.
    • 55 Metascore
    • 25 Mick LaSalle
    A Tale of Love and Darkness is a dead film, an eminently worthy corpse.
    • 46 Metascore
    • 25 Mick LaSalle
    It's just off, odd and joyless.
    • 60 Metascore
    • 25 Mick LaSalle
    The result is a frustrating, boring mess.
    • 53 Metascore
    • 25 Mick LaSalle
    RocknRolla attempts to depict a world of ever-expanding chaos. But the chaos is only in the way the story is told. The actual vision Ritchie offers is pedestrian and tame.
    • 19 Metascore
    • 25 Mick LaSalle
    The temptation arises to say something nice about Grown Ups 2 just because it doesn't cause injury. But no, it's a bad movie, too, just old-school bad, the kind that's merely lousy and not an occasion for migraines or night sweats.
    • 52 Metascore
    • 25 Mick LaSalle
    Safe House is an idea for a movie. It's a few blustery gestures in the direction of a story, with five good actors doing their best, trying to hold up the barest frame of an idea, while investing the surrounding emptiness with all the truth they can muster.
    • 37 Metascore
    • 25 Mick LaSalle
    Whatever else W.E. may be (lousy, a waste of time, tin-eared, sleep-inducing, occasionally laughable, etc.), it's sincere and ambitious.
    • 33 Metascore
    • 25 Mick LaSalle
    These are good moments, and there are a few others, that prevent Tomb Raider from being one of the worst films of the year. But they're not enough to make it worth seeing.
    • 27 Metascore
    • 25 Mick LaSalle
    An awkward comedy made surprisingly bearable, most of the way, by one actress' ability to turn on the charm and sparkle.
    • 58 Metascore
    • 25 Mick LaSalle
    August: Osage County was a three-hour play that felt like two hours. It has been made into a two-hour movie that feels like a month.
    • 37 Metascore
    • 25 Mick LaSalle
    There are all kinds of bad movies in the world, but it's really only stardom that can create the exact variety of cinematic abortion we find in The Tourist.
    • 58 Metascore
    • 25 Mick LaSalle
    A noble attempt that doesn't hang together.
    • 33 Metascore
    • 25 Mick LaSalle
    It has the curse of earnestness. It is so sincere ... it is so sincere it could put you into a coma.
    • 61 Metascore
    • 25 Mick LaSalle
    An awkward hybrid of Asian and American film techniques. It's also an uninvolving story that casts Chan in the role of a fish out of water and gives him little opportunity to show his exuberant personality.
    • 39 Metascore
    • 25 Mick LaSalle
    This is strictly formula stuff, made worse by an utterly careless depiction of the characters.
    • 31 Metascore
    • 25 Mick LaSalle
    It's monumentally coarse and vulgar, aimed at the mentality of a 14-year-old locked inside his father's liquor cabinet, and nothing about it is funny, least of all Adam Sandler.
    • 47 Metascore
    • 25 Mick LaSalle
    Here's the tricky thing about The Strangers. Sure, it uses cinema to ends that are objectionable and vile ... but it does it well, with more than usual skill.
    • 65 Metascore
    • 25 Mick LaSalle
    The film itself is wretched. A grueling, numbing black hole.
    • 47 Metascore
    • 25 Mick LaSalle
    Aspires to the breezy esprit of a Richard Lester comedy from the '60s, but it's a deadly, leaden affair.
    • 45 Metascore
    • 25 Mick LaSalle
    Spins an unconvincing, miscast noir tale.
    • 51 Metascore
    • 25 Mick LaSalle
    It's the cinematic equivalent of an all-dessert meal: After the initial jolt, the lack of any real nourishment is apparent, and it becomes a struggle to stay awake.
    • 39 Metascore
    • 25 Mick LaSalle
    There's nothing here but a concept and a marketing and merchandising strategy, at the center of which somebody - oh, no - had to come up with an actual movie.
    • 12 Metascore
    • 25 Mick LaSalle
    At times, it actually hurts to watch.
    • 54 Metascore
    • 25 Mick LaSalle
    The movie equivalent of an idiot who, to avoid scorn, starts acting like an even bigger idiot, so as to get in on the joke, too...It takes everything and nothing seriously, depending on what the filmmakers think they can get away with at any given moment, and the result, while not painful to watch, is ridiculous.
    • 31 Metascore
    • 25 Mick LaSalle
    Represents his (Smith) first act of cinematic cynicism, his first crime against his own talent. With this action comedy, he has given us 110 worthless minutes, a bad formula movie like every other bad formula movie.

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