For 2,299 reviews, this critic has graded:
  • 52% higher than the average critic
  • 2% same as the average critic
  • 46% lower than the average critic
On average, this critic grades 0.9 points higher than other critics. (0-100 point scale)

Mick LaSalle's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Queen and Country
Lowest review score: 0 Gigli
Score distribution:
2,299 movie reviews
    • 56 Metascore
    • 25 Mick LaSalle
    Bezucha made something perverse, a feel-bad holiday film about a repellent family, with a milquetoast dad and a smug, devious harpy of a mom.
    • 70 Metascore
    • 25 Mick LaSalle
    An empty exercise.
    • 57 Metascore
    • 25 Mick LaSalle
    This remake of the 1981 horror classic starts well, but it soon degenerates into tiresome shock gore that overstays its welcome, despite the film's modest run time. Jane Levy as a heroin addict going through withdrawal is the one bright spot.
    • San Francisco Chronicle
    • 14 Metascore
    • 25 Mick LaSalle
    The audience has already checked out, long before the formulaic finish.
    • 83 Metascore
    • 25 Mick LaSalle
    In the important things, in all the ways that really count, Caché is a handsome fraud.
    • 65 Metascore
    • 25 Mick LaSalle
    The worst kind of avant-garde film, one that hides its lack of commitment to the story, the characters and the genre under cover of being experimental. It mocks form and plays with form but offers nothing in its place, just boredom, emptiness and the oldest metaphor in captivity, about grass coming up through concrete.
    • 73 Metascore
    • 25 Mick LaSalle
    Anyone can make a bad movie, but it takes a good filmmaker to make one as bad as I'm Not There.
    • 23 Metascore
    • 25 Mick LaSalle
    About as weak a movie as can be made without actively trying.
    • 24 Metascore
    • 25 Mick LaSalle
    It plays like a string of cliches linked together to form a movie with not a single moment of surprise or originality.
    • 69 Metascore
    • 25 Mick LaSalle
    It boggles the mind that after six years of silence, all Tarantino has to offer is this garbage.
    • 64 Metascore
    • 25 Mick LaSalle
    Numbing and inert.
    • 35 Metascore
    • 25 Mick LaSalle
    A dull film with unsympathetic characters brought together by a gimmicky premise that's handled with no imagination and a pristine fraudulence of emotion. Aside from that, it's great.
    • 62 Metascore
    • 25 Mick LaSalle
    Highly visual but cold. It's undeniably inventive, but also relentlessly fey and self-consciously zany and, in terms of story, it moves with audacious slowness.
    • 32 Metascore
    • 25 Mick LaSalle
    An overblown action monstrosity with no surprises, no exhilaration and no thrills.
    • 59 Metascore
    • 25 Mick LaSalle
    A whimsical but flat-footed attempt to account for several lost months in the life of Jean-Baptiste Poquelin, known to the world as Molière.
    • 34 Metascore
    • 25 Mick LaSalle
    Almost every moment has flashes and explosions and a pulsing, relentless soundtrack. It's like being trapped inside a video game.
    • 62 Metascore
    • 25 Mick LaSalle
    Exactly one minute longer than its predecessor, but it's a dragged-out exercise, with no epic scale and no spirit worth talking about.
    • 39 Metascore
    • 25 Mick LaSalle
    If you think of Pompeii as a ride, a conveyance for special effects, and not anything resembling an emotional experience, indifference can almost be a good thing.
    • 33 Metascore
    • 25 Mick LaSalle
    There's no satisfaction and no pleasure to be gained by sitting through it. The characters are ludicrous and, worse than that, boring. And this is despite all the lead actors doing the best they can.
    • 67 Metascore
    • 25 Mick LaSalle
    It's two hours of your life wasted, time once spent that can never be regained. Don't go. Don't do it. [30 Mar 1988]
    • San Francisco Chronicle
    • 54 Metascore
    • 25 Mick LaSalle
    Remaking Get Smart for the big screen might have sounded like a bad idea, but the movie shows it to have been something else: a REALLY bad idea.
    • 61 Metascore
    • 25 Mick LaSalle
    The movie's promise -- to provide a balanced argument -- goes unrealized, and all we're left with is the spectacle of an idiot bullying a genius.
    • 59 Metascore
    • 25 Mick LaSalle
    The real problem with This Is 40 is its lack of truth, that Apatow wanted to express something about married life, and it eluded him. After all, no less than Kierkegaard once said that the actual dynamics of marriage are beyond the scope of art, and he was the best movie critic of the 19th century.
    • 40 Metascore
    • 25 Mick LaSalle
    Vantage Point has nothing going on. There's no artistic, philosophical or even jolly entertainment reason for adopting this strategy. It's just arbitrary, a gimmick.
    • 51 Metascore
    • 25 Mick LaSalle
    The opening to John Carter is a dud, a battle between airships made of woven bamboo, bursting into computer-generated flame over a sandy terrain. There's nothing to see, nothing to think about, nothing to care about, and nothing to feel, just emptiness. The emptiness is never filled over the course of 132 long, barren minutes.
    • 37 Metascore
    • 25 Mick LaSalle
    It's a big disappointment.
    • 59 Metascore
    • 25 Mick LaSalle
    Convoluted.
    • 35 Metascore
    • 25 Mick LaSalle
    Williamson's script, which he also directed, is spiteful and shallow.
    • 28 Metascore
    • 25 Mick LaSalle
    Setting out to make a cult movie is almost as strange as setting out to make a camp movie. Or setting out to make a movie that's so bad it's good. If you know you're doing it, you're not really doing it.
    • 53 Metascore
    • 25 Mick LaSalle
    A handful of acting moments aside, Being Flynn is a drama without much in the way of rewards.
    • 35 Metascore
    • 25 Mick LaSalle
    Take the worst things about independent movies - the wallowing in an unpleasantness, the narrative unsteadiness, the next-to-no story. Then combine those with a hefty dose of light comedy. The result: the big, fat tonal mess that is Happy Tears, a charmless film about two sisters who come together to care for their demented father.
    • 28 Metascore
    • 25 Mick LaSalle
    It has a weak story that provides no tension, feeling or interest. Its opening action sequence is just a long, drawn-out dud, filmed by director John Moore in the worst modern style of quick cuts and smeary, jittery photography.
    • 54 Metascore
    • 25 Mick LaSalle
    Higher Learning says nothing new or challenging and is too naive to inspire controversy.
    • 29 Metascore
    • 25 Mick LaSalle
    The picture gives us two protagonists and sets up a situation in which only one of them can have a decent life. Then, having devised this sour souffle, the screenwriters find no adjustment to make it palatable. The resolution is flip, at best.
    • 27 Metascore
    • 25 Mick LaSalle
    A childish, empty effort.
    • 31 Metascore
    • 25 Mick LaSalle
    Badly made and poorly written, Blended is a rehash of Adam Sandler's 2011 comedy "Just Go With It," only without Jennifer Aniston and without laughs. It not only gets the big things wrong. It gets the small, easy things wrong.
    • 38 Metascore
    • 25 Mick LaSalle
    Nora Ephron directed it and had a hand in the screenplay, but without Travolta this film would have no reason for being.
    • 35 Metascore
    • 25 Mick LaSalle
    Really, The Expendables 3 has only one thing going for it, beyond the unremarkable novelty of seeing lots of celebrities in a lousy movie. It has Mel Gibson, who is at his grim, tormented and quirky best here, playing someone who has crossed a moral line and has no regrets.
    • 66 Metascore
    • 25 Mick LaSalle
    If it happens to hit you right - that is, if you happen to catch its wavelength of tear-and-a-smile whimsicality - the movie will speak to you.
    • 21 Metascore
    • 25 Mick LaSalle
    In the same genre as the Farrellys' "There's Something About Mary" and "Dumb and Dumber," only lousy.
    • 53 Metascore
    • 25 Mick LaSalle
    The Signal starts off as an alien version of "Blair Witch Project" and then drifts off into cold plotlessness. But for a while, a little while, it seems like it just might be interesting.
    • 55 Metascore
    • 25 Mick LaSalle
    It's a complete mess, the spectacle of filmmakers blowing up their movie and everything in it, because they can't think of anything else to do.
    • 70 Metascore
    • 25 Mick LaSalle
    The bottom line with Andrea Arnold's Wuthering Heights is that the writer-director has taken Emily Brontë's tale of undying passion and rendered it passionless.
    • 20 Metascore
    • 25 Mick LaSalle
    Why, if Chase is such a funny guy, does he make such unfunny movies?
    • 63 Metascore
    • 25 Mick LaSalle
    It provokes nothing but yawns, and the sex it explores is stuff everybody knows about and says, "So what?"
    • 54 Metascore
    • 25 Mick LaSalle
    It takes about 20 minutes to catch on that Friday is without narrative drive - and about as long to figure out that the film offers nothing better in place of it.
    • 46 Metascore
    • 25 Mick LaSalle
    The comedy, to the extent there is any, consists mainly of Carrey's verbal asides and strained reactions to people. The script gives him very little to work with.
    • 38 Metascore
    • 25 Mick LaSalle
    Just about everything in The Chronicles of Riddick is impenetrable, from the convoluted story to the dark and baroque art direction. It's an inane film rendered sometimes laughable by an atmosphere of dead-serious reverence.
    • 27 Metascore
    • 25 Mick LaSalle
    As vile, unredeeming and thoroughly unpleasant experiences go, I Spit on Your Grave at least has one thing interesting about it. It's a document of the most paranoid fantasies that urban, Northern people have about a rural Southern people.
    • 70 Metascore
    • 25 Mick LaSalle
    Liotta's acting can't redeem senseless violence.
    • 33 Metascore
    • 25 Mick LaSalle
    Father-daughter relationship lacks impact.
    • 63 Metascore
    • 25 Mick LaSalle
    It shambles and ambles, seemingly without focus or pattern, from one thing to the next. Yet at the same time, it's predictable, not from moment to moment, but in its outlines.
    • 49 Metascore
    • 25 Mick LaSalle
    Depictions of an aide talking about her hospital vigil and her words of comfort to a distraught Laura Bush are creepy and exploitative -- and borderline disgusting.
    • 46 Metascore
    • 25 Mick LaSalle
    There's something painful about watching Scarlett Johansson, who looks as if she never had an indecisive moment in her life, struggle to seem ineffectual.
    • 57 Metascore
    • 25 Mick LaSalle
    Owen is a magnetic, sensitive presence at the center of a movie that doesn't deserve him and that barely deserves to be seen.
    • 49 Metascore
    • 25 Mick LaSalle
    John Lennon once said, "There's a great woman behind every idiot." This time, I'm counting seven of them.
    • 47 Metascore
    • 25 Mick LaSalle
    Has no truth, wisdom or honesty, and it's barely entertaining.
    • 30 Metascore
    • 25 Mick LaSalle
    The big disappointment of The Babymakers is that it doesn't come close to being worthy of its two stars, Paul Schneider and Olivia Munn.
    • 61 Metascore
    • 25 Mick LaSalle
    As good as The Motel Life is for the actors, that's how bad it is for the viewer.
    • 52 Metascore
    • 25 Mick LaSalle
    When Christian Bale allowed himself to play Bruce Wayne in "Batman Begins," he was slumming - and to good effect. But with Terminator Salvation, this ostensibly serious actor takes up residence in the action ghetto, and it's not a good fit.
    • 60 Metascore
    • 25 Mick LaSalle
    There are phony movies made every week, but this is in a different category - a phony movie that seems a distortion of something real, a phony movie offered in place of the real movie von Trier could have made, but it would have cost him something. Some blood, some truth, some soul. What we're left with instead is an empty gesture.
    • 24 Metascore
    • 25 Mick LaSalle
    Original enough to come up with new ways to go wrong. For one, the film is a blatant showcase to promote O'Neal as a rap artist.
    • 35 Metascore
    • 25 Mick LaSalle
    A stink bomb of a movie.
    • 74 Metascore
    • 25 Mick LaSalle
    Great to look at but not much fun to watch… An emotionally uncommitted picture that's smirky and mawkish, by turns, and at heart, empty. [14 Dec 1990, Daily Datebook, p.E1]
    • San Francisco Chronicle
    • 16 Metascore
    • 25 Mick LaSalle
    What's completely baffling is that everyone in the film thinks Nomi is one heck of a dancer, even though her one move -- throwing her arms out stiffly -- is straight out of "Dr. Strangelove."
    • 47 Metascore
    • 25 Mick LaSalle
    Yet, it's watchable -- not remotely enjoyable, but watchable.
    • 33 Metascore
    • 25 Mick LaSalle
    RV
    RV is a horrible movie about horrible people, and just because they call it a comedy doesn't mean we have to play along.
    • 59 Metascore
    • 25 Mick LaSalle
    "Spider-Man 2" was a textbook example of how to make a sequel: Deepen it, make it funnier, give it more heart and come up with a strong villain and a good story. Spider Man 3, by contrast, shows how not to make a sequel.
    • 26 Metascore
    • 25 Mick LaSalle
    It's a dreadful exercise, tin-eared and sincere, bereft of any truth or inspiration.
    • 31 Metascore
    • 25 Mick LaSalle
    It's hard to tell if Cage's performance is a grand stab at all-out, no-holds-barred comic acting or one of the worst dramatic performances in a film this year. [2 June 1989, Daily Datebook, p.E8]
    • San Francisco Chronicle
    • 31 Metascore
    • 25 Mick LaSalle
    With its flat story, numbed-out protagonist, and faux artistic lighting and set design - everything is dark or moody or darkishly moody or moodily dark - Max Payne seems a good half hour longer than its running time.
    • 65 Metascore
    • 25 Mick LaSalle
    By the end A.I. exhibits all its creators' bad traits and none of the good. So we end up with the structureless, meandering, slow-motion endlessness of Kubrick combined with the fuzzy, cuddly mindlessness of Spielberg.
    • 50 Metascore
    • 25 Mick LaSalle
    The movie's bereftness of invention can be measured by how no story element builds on another. Instead, Happy Feet Two is plotted so that a bunch of disparate things happen, until it's time to end the movie.
    • 68 Metascore
    • 25 Mick LaSalle
    It is a very good performance in a very bad movie.
    • 31 Metascore
    • 25 Mick LaSalle
    A third-rate effort, with a weak script, cheap-looking effects and no genuine frights.
    • 75 Metascore
    • 25 Mick LaSalle
    Film anybody's trip to Italy, and it would be more interesting than this, or at least equally boring.
    • 69 Metascore
    • 25 Mick LaSalle
    More than confusing. It's opaque.
    • 43 Metascore
    • 25 Mick LaSalle
    Approximately the last hour of Dante's Peak is made up of action scenes, and how well one likes computer-generated destruction will determine how well one likes the movie.
    • 42 Metascore
    • 25 Mick LaSalle
    This latest from director Wayne Wang, about the friendship of two young women, travels from 2011 to 1997 to 1829 to 1838, in search of a reason for the audience to keep watching and start caring. That reason is never found.
    • 53 Metascore
    • 25 Mick LaSalle
    In an attempt to be complex and fair-minded, a simple story becomes a jumble of confused motivations.
    • 19 Metascore
    • 25 Mick LaSalle
    To call this effort misguided would be kind. The job this "prequel" does on the original Dumb and Dumber is the movie equivalent of surgery that removes all the vital organs and then gives the patient a prosthetic third arm. What's needed isn't there, and what's here we don't need.
    • 37 Metascore
    • 25 Mick LaSalle
    It's just horsing around that comes to nothing. No, it's worse. It's horsing around designed to disguise nothing as something.
    • 54 Metascore
    • 25 Mick LaSalle
    If, while watching The Secret Life of Walter Mitty, you start wondering why Ben Stiller is acting strange, the answer comes during the closing credits: "Directed by Ben Stiller."
    • 66 Metascore
    • 25 Mick LaSalle
    The Dutch thriller Borgman gets credit for being original, but not for being original in a compelling way.
    • 31 Metascore
    • 25 Mick LaSalle
    As for Fraser, his clumsy humanity is endearing, but by now, assuming he has invested wisely, he should have enough money saved so as to not have to waste his talent anymore.
    • 37 Metascore
    • 25 Mick LaSalle
    There's no point complaining that Honey is a tired reworking of an old formula, because it's intended for a young audience that doesn't know the formula.
    • 57 Metascore
    • 25 Mick LaSalle
    Witless banter might have won Ginger Rogers for Fred Astaire, but Thompson is too smart for that.
    • 54 Metascore
    • 25 Mick LaSalle
    The bad outweighs the good and the cringes outnumber the laughs in Brüno, a disappointment from Sacha Baron Cohen, whose "Borat" was one of the funniest movies of the decade.
    • 43 Metascore
    • 25 Mick LaSalle
    No longer fresh -- though that's to be expected in a sequel -- it contains none of the virtues that made the first one anarchic and original.
    • 49 Metascore
    • 25 Mick LaSalle
    Cmera work can't do anything about the barrenness of the screenplay, nor the sense of fundamental insincerity at the core of the film. [03 Sep 1993]
    • San Francisco Chronicle
    • 55 Metascore
    • 25 Mick LaSalle
    Hellion is so sincere and so dull that some might mistake it for a true work of art.
    • 40 Metascore
    • 25 Mick LaSalle
    The movie is a mess.
    • 46 Metascore
    • 25 Mick LaSalle
    In King Arthur, everything goes wrong. The film combines the plodding sincerity of a Ph.D. dissertation with the brains of a high-concept Jerry Bruckheimer- produced blockbuster (which it is), and no one benefits.
    • 64 Metascore
    • 25 Mick LaSalle
    Surprisingly, the results are embarrassing. As puppetry, Team America is stilted. As satire, it's gutless and lazy. And as comedy, it barely delivers laughs.
    • 36 Metascore
    • 25 Mick LaSalle
    Morgan Freeman's voice is heard as the narrator, which is in itself the stuff of parody. Then we listen and get lost within two sentences, because the narration is so poorly written that Freeman himself probably didn't know what he was talking about.
    • 60 Metascore
    • 25 Mick LaSalle
    It's a bomb - not the usual bomb, but a time bomb, despite a 20-minute stretch at the beginning that goes along nicely. [17 May 1991]
    • San Francisco Chronicle
    • 70 Metascore
    • 25 Mick LaSalle
    The movie's excruciating length is without dramatic or thematic justification.
    • 45 Metascore
    • 25 Mick LaSalle
    Not only not funny, it's unfunny. It kills humor. Sit in a room by yourself, look at a blank screen for 90 minutes, and you'll have more of a chance of laughing at your own thoughts than you will at this movie.
    • 26 Metascore
    • 25 Mick LaSalle
    Just awful. But uniquely awful -- awful in a way that might just attract a cult audience. [3 Sept 1993]
    • San Francisco Chronicle
    • 37 Metascore
    • 25 Mick LaSalle
    Has many grotesque sex scenes, interspersed with sights of Chong rambling in a dissociated way as she sits in her squalid apartment.
    • 41 Metascore
    • 25 Mick LaSalle
    All the movie's narrative gymnastics can't disguise the fact that it's inauthentic at its core and that its story just isn't worth telling.
    • 38 Metascore
    • 25 Mick LaSalle
    A mess.
    • 27 Metascore
    • 25 Mick LaSalle
    Harmon proves that he can act stupid, and that's not enough to make the movie funny… You're supposed to like Freddy (Harmon), and you're supposed to like his brainless students… But you hate everybody. [24 July 1987]
    • San Francisco Chronicle
    • 51 Metascore
    • 25 Mick LaSalle
    Someone should steal this concept and make a decent movie out of it.
    • 67 Metascore
    • 25 Mick LaSalle
    A frustrating movie, a work of immaturity from a director who should be past the empty gestures and self-protective distance of his early work.
    • 40 Metascore
    • 25 Mick LaSalle
    A movie like this depends on clever bits and incidents, but there's little invention here to disguise the film's formulaic nature.
    • 73 Metascore
    • 25 Mick LaSalle
    The movie suffers from two fatal ailments -- a dearth of vitality and a story that's shapeless and uninflected.
    • 31 Metascore
    • 25 Mick LaSalle
    The Road Within is never good. The presentation of Tourette’s syndrome may be authentic, but everything else about the movie — the emotions, the characters, the situations — rings false.
    • 37 Metascore
    • 25 Mick LaSalle
    The movie's most inexcusable failing is that, despite all the flashbacks, we never get a sense of what this relationship was like when it worked.
    • 30 Metascore
    • 25 Mick LaSalle
    Neither original nor presented in a convincing way.
    • 79 Metascore
    • 25 Mick LaSalle
    This picture is disgusting. [15 Aug 1986]
    • San Francisco Chronicle
    • 41 Metascore
    • 25 Mick LaSalle
    Rarely do two lines go by without Fellowes changing something, always for the worse.
    • 73 Metascore
    • 25 Mick LaSalle
    It will bring joy in a way certainly not intended, as one of the most gloriously and unwittingly silly films ever devised by a major American filmmaker.
    • 32 Metascore
    • 25 Mick LaSalle
    Nothing but a showcase for the inherent comedic gifts of Cameron Diaz. The problem is she doesn't have any.
    • 37 Metascore
    • 25 Mick LaSalle
    What we have in this film is a whole lot of nothing, and the little that's there is irritating.
    • 34 Metascore
    • 25 Mick LaSalle
    Another inert, soul-dead action drama that turns actors into zombies...It's garbage.
    • 46 Metascore
    • 25 Mick LaSalle
    Lucas Black, who looks as much like a high school kid as George Bernard Shaw, speaks in a thick Southern accent that hasn't been heard on any leading man since the second act of "Our American Cousin."
    • 53 Metascore
    • 25 Mick LaSalle
    The moments of action are interspersed with lengthy plot developments that are hard to follow.
    • 32 Metascore
    • 25 Mick LaSalle
    Saint John of Las Vegas was a bad script that somehow got made into a bad movie with good people in it.
    • 49 Metascore
    • 25 Mick LaSalle
    Behind Enemy Lines has a wretched script and a director (first-timer John Moore) who either has no taste or doesn't know what he's doing.
    • 66 Metascore
    • 25 Mick LaSalle
    Results are all that matter, and the result here is that The Desolation of Smaug fails in almost every way, as a story, as an adventure, as a piece of art direction and as a visual spectacle.
    • 58 Metascore
    • 25 Mick LaSalle
    With Hard Candy, the innocent are tortured along with the guilty -- the innocent, in this case, being the audience.
    • 21 Metascore
    • 25 Mick LaSalle
    While the plot is worthless and the battle scenes cheap-looking and unengrossing, Wing Commander has clearly defined characters and relationships. In other words, the film's young actors have nothing interesting to say, but they say it well.
    • 68 Metascore
    • 25 Mick LaSalle
    Its story meanders and doesn't build, and the pace is deadly.
    • San Francisco Chronicle
    • 40 Metascore
    • 25 Mick LaSalle
    They take on special powers that the filmmakers are incapable of making interesting, partly because the characters are ciphers, and partly because the story is listless and uninventive.
    • 46 Metascore
    • 25 Mick LaSalle
    The film doesn't make a case for Lavoe as an important artist.
    • 51 Metascore
    • 25 Mick LaSalle
    The comedy never really takes off because it's phony.
    • 37 Metascore
    • 25 Mick LaSalle
    A limp, slow-moving and desperately unfunny comedy.
    • 50 Metascore
    • 25 Mick LaSalle
    It takes a winning recipe and adds some distinctly Hollywood flavors...The result is a botched job.
    • 43 Metascore
    • 25 Mick LaSalle
    It's unpleasant where it should be pleasant, convoluted where it should be streamlined, anxiety provoking where it should be easy, and long, long, long - at least 20 minutes longer than it has a right to be.
    • 64 Metascore
    • 25 Mick LaSalle
    With The Way, writer-director Emilio Estevez has made a respectable failure. What's respectable - and undeniable - is that this is a sincere effort to make a film of sensitivity and spiritual richness.
    • 44 Metascore
    • 25 Mick LaSalle
    This is a half-hearted, derivative action film with not a single honest artistic impulse behind it.
    • 67 Metascore
    • 25 Mick LaSalle
    A ghastly sequel to a charming animated film.
    • 67 Metascore
    • 25 Mick LaSalle
    Trust never lives up to its snappy opening. Everything is tongue-in-cheek here - yet it's never remotely clear what the point is or what's getting satirized. [16 Aug 1991]
    • San Francisco Chronicle
    • 48 Metascore
    • 25 Mick LaSalle
    It's off in many directions - false in its details, false in its relationships, false in its emotions - but probably the first and worst thing that needs to be said about it is that it's also overlong and dull.
    • 58 Metascore
    • 25 Mick LaSalle
    If you loved the earlier films, these are moments you will hold on to, but they're very few, and they're not enough.
    • 35 Metascore
    • 25 Mick LaSalle
    It's astonishing what little impact even the most imaginatively choreographed and well-filmed aerial escapades can have when they're presented as neither an expression of a character's personality, nor in the context of a compelling mission.
    • 30 Metascore
    • 25 Mick LaSalle
    It's a plodding, episodic film, reverent and sanctimonious, and its pro-Southern viewpoint -- a time-honored Hollywood tendency -- makes "Gone With the Wind" look like a Northern polemic.
    • 56 Metascore
    • 12 Mick LaSalle
    The best thing in the movie is Peter MacNicol as Dana's boss at the museum, a slippery character with an incomprehensible accent. [16 Jun 1989, p. E1]
    • San Francisco Chronicle
    • 16 Metascore
    • 0 Mick LaSalle
    The film is a failure in just about every way, save for its acting, which is adequate.
    • 44 Metascore
    • 0 Mick LaSalle
    No matter how guilty our knucklehead-protagonist's victims supposedly are, it's difficult to maintain a rooting interest.
    • 20 Metascore
    • 0 Mick LaSalle
    A dull, boring, poorly acted, limply written and thoroughly unappealing fantasy, featuring bland characters locked in a struggle of no interest.
    • 44 Metascore
    • 0 Mick LaSalle
    Achingly long and pointless, "Runs" is a movie about family that's dishonest in its presentation of every relationship.
    • 38 Metascore
    • 0 Mick LaSalle
    A graceless, embarrassing effort.
    • 54 Metascore
    • 0 Mick LaSalle
    Gerry is ragingly bad art that contributes to a definition of independent film as something no one would want to sit through.
    • 52 Metascore
    • 0 Mick LaSalle
    Quentin Tarantino and Robert Rodriguez had their fun with From Dusk Till Dawn, and now they need to stay away from each other. For their own good. Forever.
    • 29 Metascore
    • 0 Mick LaSalle
    No more than a minute into this, and it becomes obvious that the next 98 are going to be trouble.
    • 21 Metascore
    • 0 Mick LaSalle
    It is possible to watch 90 minutes of this comedy without once cracking a smile. [12 Jan 1994]
    • San Francisco Chronicle
    • 56 Metascore
    • 0 Mick LaSalle
    It's just not enough to say that The Three Stooges is the death of comedy. Rather, it's the death, burial, putrefaction and decomposition of comedy. It is where comedy, once alive, ends up as dust blowing in the wind, like something out of a really bad Kansas song.
    • 32 Metascore
    • 0 Mick LaSalle
    Proves that it's possible to make a movie so tasteless and so crude that audiences don't laugh. This is worthwhile information. It means there's a limit.
    • 22 Metascore
    • 0 Mick LaSalle
    It's so low it scrapes through the barrel and deep into the earth's core. It's the lowest piece of garbage to hit screens in months.
    • 60 Metascore
    • 0 Mick LaSalle
    The result is embarrassing: quick cuts and shaky, hand- held camera work, bad acting and lots of attitude.
    • 14 Metascore
    • 0 Mick LaSalle
    Remarkably empty, remarkably noisy, remarkably pleasureless. It's unwatchable.
    • 37 Metascore
    • 0 Mick LaSalle
    How bad does it get? How far past the basement can one elevator go?
    • 51 Metascore
    • 0 Mick LaSalle
    That the movie becomes silly isn't necessarily a problem, but it also becomes tiresome, degenerating into a series of martial arts interludes -- everyone unaccountably leaves his guns at home.
    • 67 Metascore
    • 0 Mick LaSalle
    In trouble from its first minutes.
    • 64 Metascore
    • 0 Mick LaSalle
    Directed by Danny Boyle, it lacks even a single moment of charm or interest.
    • 48 Metascore
    • 0 Mick LaSalle
    There's nothing here but wreckage. Sherlock Holmes: A Game of Shadows is so ineptly made that the story is advanced solely through announcements.
    • 17 Metascore
    • 0 Mick LaSalle
    Only a complete idiot could think Epic Movie is remotely funny.
    • 20 Metascore
    • 0 Mick LaSalle
    It's a dishonest satire that manages to be (disingenuously) contemptuous of white people and (unintentionally) condescending toward black people, without ever being funny.
    • 32 Metascore
    • 0 Mick LaSalle
    UHF
    In UHF we get 90 minutes of Al Yankovic, and that's 85 minutes too much. The problem isn't that he's weird, but that he isn't weird at all. The premises for his gags are commonplace and predictable, and his follow-throughs lack imagination. He seems incapable of spinning more than one tired joke from each set-up. [21 Jul 1989, p.E1]
    • San Francisco Chronicle
    • 21 Metascore
    • 0 Mick LaSalle
    The equivalent of a full-course meal with no calories. It is a mirage of a movie, 100 minutes of nothing.
    • 52 Metascore
    • 0 Mick LaSalle
    Aside from being vile and repellent, it's mainly dull - old-fashioned in its shock tactics and culminating in a ho-hum climax.
    • 52 Metascore
    • 0 Mick LaSalle
    Duller than first version.
    • 18 Metascore
    • 0 Mick LaSalle
    The most thoroughly joyless and inept film of the year, and one of the worst of the decade. We're talking about a disaster, and not of the fun "Showgirls" variety, either.
    • 12 Metascore
    • 0 Mick LaSalle
    It's a completely botched effort -- botched in its direction, its writing and editing.
    • 18 Metascore
    • 0 Mick LaSalle
    Even camp status eludes this tepid and misguided picture.
    • 44 Metascore
    • 0 Mick LaSalle
    The script is weak and unrelenting. The stunts are unspectacular. The special effects are nothing you haven't seen before. But worst of all, there's the spectacle of Schwarzenegger glorying in the wonder of Schwarzenegger. [18 Jun 1993, p.C1]
    • San Francisco Chronicle
    • 35 Metascore
    • 0 Mick LaSalle
    Sommers film just lies there, weighted down by a complete lack of wit, artfulness and internal logic. So it's a disaster -- a big, loud, boring wreck.
    • 75 Metascore
    • 0 Mick LaSalle
    Attack the Block is the other alien-invasion movie opening today, the lousy one, the one from Britain. In Britain, it's probably just a regular bad movie, but here - with accents that are barely comprehensible and in-jokes about council flats, not to mention a swerving handheld camera and some of the cheapest effects since "Night of the Lepus" - it's surprising this thing ever got released.
    • 32 Metascore
    • 0 Mick LaSalle
    As plain awful as Untraceable is, possibly the worst thing about it is that it pretends to mean something.
    • 35 Metascore
    • 0 Mick LaSalle
    She's hopeless, he's hopeless, and this movie is just ghastly.
    • 33 Metascore
    • 0 Mick LaSalle
    In stiff competition for the lamest thing ever put on celluloid.
    • 25 Metascore
    • 0 Mick LaSalle
    The best bits come in the first few minutes -- or maybe the jokes just seem fresher then.
    • 36 Metascore
    • 0 Mick LaSalle
    One of the downsides of living in a free society is that every so often someone like Myles Berkowitz gets hold of a camera.
    • 37 Metascore
    • 0 Mick LaSalle
    It represents 2 1/2 of the longest hours on record, a jumbled botch that is so confused in its purpose and so charmless in its effect that it must be seen to be believed, but better yet, no. Don't see it, don't believe it, not unless a case of restless leg syndrome sounds like a fun time at the movies.
    • 31 Metascore
    • 0 Mick LaSalle
    The most shocking thing about Harry and Max isn't the subject matter. The most shocking thing is just how tepid it is.
    • 19 Metascore
    • 0 Mick LaSalle
    Movies don't get much worse.
    • 46 Metascore
    • 0 Mick LaSalle
    An amazing film amazingly tasteless, tin-eared and awkward, but amazing all the same. Anyone with a predilection for bad movies might want to see it, if only in an inspecting-the-wreckage spirit, since because movies this misguided come but once or twice a year.
    • 72 Metascore
    • 0 Mick LaSalle
    Despite its actors, its lush photography and its obvious seriousness of purpose, is as close to a form of torture as any film ever devised. I can't think of any individuals I dislike so much as to force them to see this picture.
    • 25 Metascore
    • 0 Mick LaSalle
    There's bad, there's awful and there's horrible, and then somewhere beyond that, in its own Kingdom of Lousy -- where all the milk curdles and the jokes aren't funny -- is License to Wed, the latest ghastly exercise starring Robin Williams.
    • 42 Metascore
    • 0 Mick LaSalle
    Doesn't work at all. Even the structure is off.
    • 32 Metascore
    • 0 Mick LaSalle
    The race is on for worst film of the year honors. Among the top contenders: Men Cry Bullets.
    • 70 Metascore
    • 0 Mick LaSalle
    Muddled and endless.
    • 21 Metascore
    • 0 Mick LaSalle
    If garbage could think, it would look down on 9 Dead Gay Guys as garbage.
    • 29 Metascore
    • 0 Mick LaSalle
    Take a wretched premise. Imagine the worst picture that could be made from it. Then imagine something even worse. That's Alien vs. Predator.
    • 39 Metascore
    • 0 Mick LaSalle
    Truly awful.
    • 58 Metascore
    • 0 Mick LaSalle
    Desperately unfunny action comedy.
    • 31 Metascore
    • 0 Mick LaSalle
    An ugly, misguided exercise.
    • 37 Metascore
    • 0 Mick LaSalle
    It is a colossal bomb, an epic miscalculation, an excuse for actor self-indulgence and for what sounds very much like bad improvisation.
    • 23 Metascore
    • 0 Mick LaSalle
    This may be hard to believe, but there's not a single moment of drama or tension in any of the action sequences. And the film is made up almost entirely of action.
    • 38 Metascore
    • 0 Mick LaSalle
    Inert, incompetent and emotionally fraudulent.
    • 27 Metascore
    • 0 Mick LaSalle
    Four screenwriters are credited with this sloppy piece of work. Divide the embarrassment into quarters.
    • 36 Metascore
    • 0 Mick LaSalle
    The Collection is bloody, disgusting and ridiculous, but the one thing it's not is horror, not real horror, not in the sense of tense or scary. It's not cinema, either. It's not even fun.
    • 47 Metascore
    • 0 Mick LaSalle
    In slightly less than 1,000 years, the competition for worst film of the third millennium will be fierce. Yet the smart money may well be on the Korean art film Lies.
    • 12 Metascore
    • 0 Mick LaSalle
    Cocktail is unbelievable - a picture that sets itself up as a gritty, authentic character study but is laughable, false and stupid in all its details. The only connection to reality here is that there are actually such things as bartenders. [29 Jul 1988, p.E1]
    • San Francisco Chronicle
    • 35 Metascore
    • 0 Mick LaSalle
    With Lake at the center, something that could have been innocuous becomes painful, and a sure shot at mediocrity is transformed into one of the worst films of the year.
    • 31 Metascore
    • 0 Mick LaSalle
    A sour story with a repellent lead character, deadly comic schtick and tin-eared direction to produce 90 minutes of sheer, plodding mirthlessness.
    • 26 Metascore
    • 0 Mick LaSalle
    The whole movie is like that: cute, dead and endless.

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