For 2,638 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 1 point lower than other critics. (0-100 point scale)

Mick LaSalle's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 School Ties
Lowest review score: 0 Maudie
Score distribution:
2638 movie reviews
    • 42 Metascore
    • 50 Mick LaSalle
    The real issue is that everything about Adam’s journey feels half digested and tossed back up. We’ve seen it before. It was better the first time.
    • 53 Metascore
    • 50 Mick LaSalle
    The attempt is to create a reality wide enough to accommodate the extremes of absurdity and hard political truth, but the pieces never cohere, and so we end up with a rattling bag of disparate elements.
    • 44 Metascore
    • 50 Mick LaSalle
    In this her third feature as a director, Jolie once again shows a marked talent for the visual aspects of storytelling. Her shot selection is impeccable and her compositions are artful without being self-consciousness.
    • 65 Metascore
    • 50 Mick LaSalle
    The result is a reminder that, with weak material, it’s often worse to have a really good actor. The weaknesses just stands out in sharper relief.
    • 83 Metascore
    • 50 Mick LaSalle
    As for the movie’s ultimate resolution, nothing specific can be said here, except that it borders on inexcusable.
    • 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.
    • 48 Metascore
    • 50 Mick LaSalle
    It’s long, downright dispiriting, enjoyable only sometimes, and yet there’s a feeling of authenticity. It’s neither bad nor good, but interesting. It might improve with age.
    • 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.
    • 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.
    • 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.
    • 51 Metascore
    • 50 Mick LaSalle
    How to Be Single is over a half hour before it’s over.
    • 54 Metascore
    • 50 Mick LaSalle
    Maybe it’s unfair, but I came away feeling cheated by Eddie the Eagle. It’s a jolly real-life tale about an underdog who made a splash at the 1988 Winter Olympics, and it does make you feel good, but it turns out that the film’s story is 90 percent fiction.
    • 33 Metascore
    • 50 Mick LaSalle
    Combines the usual dumb ideas with one good one. And not just good, but impressive, in that it makes sense of much of what went before.
    • 68 Metascore
    • 50 Mick LaSalle
    For all the movie's richness and dazzle, for all that money dripping off the screen, Batman Returns is a gorgeous failure -- flashy, intermittently appealing but, in the end, a big mess. Batman Returns lacks a coherent story. It lacks a point of view and a focus. And so everything suffers, even the art direction. [19 June 1992, p.D1]
    • San Francisco Chronicle
    • 47 Metascore
    • 50 Mick LaSalle
    Surely, there’s the potential here for a kind of Country and Western “Amadeus.” Instead we get I Saw the Light, which will do until something better comes along.
    • 76 Metascore
    • 50 Mick LaSalle
    Midnight Special is a sincere movie, but sometimes sincerity is half the problem.
    • 70 Metascore
    • 50 Mick LaSalle
    Joachim Trier is a Norwegian filmmaker who made a strong debut in 2011, with his film, “Oslo, August 31.” Louder Than Bombs is his first English-language effort, and it’s disappointing.
    • 59 Metascore
    • 50 Mick LaSalle
    Shannon is worth seeing, and so is Spacey — hunched over, doing a funny impression of Nixon’s voice and body language. But this time the actors are better than the material.
    • 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.
    • 65 Metascore
    • 50 Mick LaSalle
    This is the best disappointing movie you will see all year.
    • 58 Metascore
    • 50 Mick LaSalle
    That’s all it is, a little bit funny.
    • 51 Metascore
    • 50 Mick LaSalle
    Me Before You is just a little better than it had to be. It’s not so much better that it escapes being what it is, a sort-of romance, liberally sprinkled with moments of corniness and emotional dishonesty. But ultimately, when it matters, it’s truthful — about the people depicted, and who they are, and what they face.
    • 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.
    • 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.
    • 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.
    • 77 Metascore
    • 50 Mick LaSalle
    The film’s thoroughness is a virtue or a problem, depending on one’s point of view.
    • 75 Metascore
    • 50 Mick LaSalle
    It’s a nice movie, and perfectly watchable — yet it’s hard to escape the sense that it should have been more.
    • 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.
    • 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.
    • 51 Metascore
    • 50 Mick LaSalle
    Much of it is enjoyable and has the aura of a superior action film, but it collapses into a laughable wreck and ultimately reveals itself as a mild waste of two hours.
    • 43 Metascore
    • 50 Mick LaSalle
    An earnest film, a well-acted film and, despite the presence of a star director, a generous film. As a director, McGregor is good to his co-stars and highlights them throughout. But the energy drops out of the last third of the picture, and takes with it much of its aura of importance.
    • 82 Metascore
    • 50 Mick LaSalle
    We end up with a movie in which it becomes very possible to respect the intent and yet be frustrated by the result.
    • 83 Metascore
    • 50 Mick LaSalle
    The result is a beautiful void, a structureless emptiness buoyed by some good scenes and performances.
    • 23 Metascore
    • 50 Mick LaSalle
    In the end it all seems a little too glib, too easy and not quite true.
    • 64 Metascore
    • 50 Mick LaSalle
    An Eye for an Eye may very well be the most unpersuasive documentary ever made.
    • 69 Metascore
    • 50 Mick LaSalle
    So the bottom line: This is an undeniably effective movie that I mostly enjoyed, even though I’m not altogether sure it should ever have been made.
    • 49 Metascore
    • 50 Mick LaSalle
    It doesn’t help matters that the movie seems to end three times before it ends, and none of those ends are satisfying.
    • 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.
    • 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.
    • 37 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.
    • 65 Metascore
    • 50 Mick LaSalle
    It’s not a bad film, just, strangely, not a good one.
    • 28 Metascore
    • 50 Mick LaSalle
    As light entertainment goes, CHiPs is fairly accomplished, and Pena and Shepard make a good team. If someone wants to turn CHiPs into a franchise of some kind, worse things have happened.
    • 49 Metascore
    • 50 Mick LaSalle
    The Promise is hardly grotesque; and it has good things in it, but by the end, it just feels like a failed manipulation.
    • 78 Metascore
    • 50 Mick LaSalle
    It’s Miller, however, who gives the most affecting performance, in that we see the light fade from her eyes. What an awful thing this husband did to her — to praise her for courage and then use all her courage against her.
    • 49 Metascore
    • 50 Mick LaSalle
    It's about what you'd expect _ a collection of gags, some good, some bad, with the bare suggestion of a story to hang it all on. Chevy Chase, as usual, is a lot better than he has to be and lifts the picture to the point that it's intermittently fun and fairly painless. [1 Dec 1989, p.E1]
    • San Francisco Chronicle
    • 37 Metascore
    • 50 Mick LaSalle
    Baywatch should have been a lot more fun.
    • 62 Metascore
    • 50 Mick LaSalle
    It’s original and idiosyncratic, but Swicord lets herself get away with things another director might not have allowed.
    • 44 Metascore
    • 50 Mick LaSalle
    Cox does a better than average job — almost everybody bombs when playing Churchill — capturing the leader’s seriousness of purpose and the weight of his responsibility. He gives us Churchill’s irascibility, but he doesn’t convey Churchill’s twinkle, his charm or his wit.
    • 34 Metascore
    • 50 Mick LaSalle
    The Mummy is the rare Cruise film that doesn’t quite give audiences their money’s worth.
    • 59 Metascore
    • 50 Mick LaSalle
    Intermittently entertaining.
    • 35 Metascore
    • 50 Mick LaSalle
    Pet Sematary Two' follows the usual horror movie pattern: The first half is a pleasure, because you know what has to happen and you can't wait. And the second half is a bore, because you know what still has to happen and you can't wait for it to end. [01 Sept 1992, p.E3]
    • San Francisco Chronicle
    • 33 Metascore
    • 50 Mick LaSalle
    Particularly impressive is the film's success at making an actor of average weight look emaciated. His cheekbones are built up so his cheeks appear to sink.
    • 43 Metascore
    • 50 Mick LaSalle
    In every small way Heston succeeds, but Needful Things ultimately is hard to sit through. It should have been edited with a meat ax. [27 Aug 1993, p.C4]
    • San Francisco Chronicle
    • 53 Metascore
    • 50 Mick LaSalle
    In the end the most interesting thing about In the Mouth of Madness is its weird relationship with itself -- its cheesy horror celebrating the power of cheesy horror, while pretending to be appalled.
    • 58 Metascore
    • 50 Mick LaSalle
    So this is fairly interesting history, not as interesting as we’d like it to be, but interesting all the same.
    • 73 Metascore
    • 50 Mick LaSalle
    It’s written by six screenwriters, and it feels like it.
    • 66 Metascore
    • 50 Mick LaSalle
    It’s a mix of comedy that isn’t especially funny — offering something more like general high spirits, rather than laughs — and drama that isn’t really dramatic, except to the people on screen.
    • 68 Metascore
    • 50 Mick LaSalle
    It’s imaginative and even brilliant at times, and then it starts to cave in. But then we think no, maybe not, maybe everything’s going to be made right . . . until it collapses completely. A cynical, smart movie about the dangers of mass culture gives way to a sentimental embrace of the very thing it’s criticizing.
    • 73 Metascore
    • 50 Mick LaSalle
    In This Corner of the World is 129 minutes, an eternity for an animated film, especially one so wispy in look and so sparing in plot.
    • 41 Metascore
    • 50 Mick LaSalle
    False Confessions can be admired for its high style and distinct tone, but if you really want to enjoy it, you’ll have to force yourself.
    • 56 Metascore
    • 50 Mick LaSalle
    Hard to hate, but if you actually want to love it, you've got to force yourself. [27 Nov 1991, p.E1]
    • San Francisco Chronicle
    • 58 Metascore
    • 50 Mick LaSalle
    It's surprising to see John Malkovich and Andie MacDowell together in such a meandering mess as The Object of Beauty. It's also surprising that their being in it doesn't help. [19 Apr 1991, p.E1]
    • San Francisco Chronicle
    • 45 Metascore
    • 25 Mick LaSalle
    Spins an unconvincing, miscast noir tale.
    • 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.
    • 36 Metascore
    • 25 Mick LaSalle
    Has a vacant, inept, why-oh-why feeling from its opening minutes and only gets worse.
    • 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.
    • 10 Metascore
    • 25 Mick LaSalle
    Ugly. ..and unpleasant -- and clueless on a grand scale.
    • 33 Metascore
    • 25 Mick LaSalle
    Father-daughter relationship lacks impact.
    • 48 Metascore
    • 25 Mick LaSalle
    The film is like watching a very bad play as presented by a very bad director.
    • 35 Metascore
    • 25 Mick LaSalle
    Williamson's script, which he also directed, is spiteful and shallow.
    • 73 Metascore
    • 25 Mick LaSalle
    The movie suffers from two fatal ailments -- a dearth of vitality and a story that's shapeless and uninflected.
    • 62 Metascore
    • 25 Mick LaSalle
    It tries to get by on charm. It doesn't.
    • 29 Metascore
    • 25 Mick LaSalle
    We all know how actors overact when they play Italians, and we all know how actors overact when they play brain-damaged characters, so just imagine Knight's performance as a brain-damaged Italian American.
    • 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.
    • 35 Metascore
    • 25 Mick LaSalle
    A stink bomb of a movie.
    • 30 Metascore
    • 25 Mick LaSalle
    Neither original nor presented in a convincing way.
    • 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.
    • 49 Metascore
    • 25 Mick LaSalle
    A whimsical modern fairy tale.
    • 44 Metascore
    • 25 Mick LaSalle
    One pities poor Molly Parker, a fine actress who was somehow persuaded to disrobe for this degrading and dispiriting Wayne Wang film.
    • 70 Metascore
    • 25 Mick LaSalle
    It wimped out by blanding down the story and the characters to the point where she isn't really a shrew and he isn't really a maniac.
    • 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
    • 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.
    • 54 Metascore
    • 25 Mick LaSalle
    The effect of the 2 1/2-hour film is deadening.
    • 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
    • 56 Metascore
    • 25 Mick LaSalle
    The picture, for all its slickness and style, is empty, empty-headed and emotionally false… [It] has no more depth than "Pretty Woman" and occupies the same moral landscape. [5 Apr 1991, Daily Datebook, p.E11]
    • San Francisco Chronicle
    • 65 Metascore
    • 25 Mick LaSalle
    Goes nowhere.
    • 17 Metascore
    • 25 Mick LaSalle
    Just awful… There is probably not one interrupted 60-second stretch in which a line of dialogue doesn't clunk, an action doesn't ring false or an irritating plot turn doesn't present itself. [25 May 1991]
    • San Francisco Chronicle
    • 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
    • 34 Metascore
    • 25 Mick LaSalle
    With most movies that fail, the fault can be ascribed to carelessness or lack or inspiration or cynicism. But Chelsea Walls, directed by actor Ethan Hawke, is clearly a labor of love.
    • 12 Metascore
    • 25 Mick LaSalle
    A discordant comedy that gives bad taste a bad name.
    • 58 Metascore
    • 25 Mick LaSalle
    A noble attempt that doesn't hang together.
    • 44 Metascore
    • 25 Mick LaSalle
    A repellent, stupid film.
    • 67 Metascore
    • 25 Mick LaSalle
    There's a lot of bad hair and incoherent, drug-addled remarks, but inside a minute we get the joke, and it isn't much.
    • 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.
    • 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.
    • 25 Metascore
    • 25 Mick LaSalle
    A funny comedy for about 90 seconds. Then Bette Midler goes off a cliff.
    • 65 Metascore
    • 25 Mick LaSalle
    An overwrought drama.
    • 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.
    • 65 Metascore
    • 25 Mick LaSalle
    A film with no theatrical core and no integrity in the writing, acting or storytelling.
    • 72 Metascore
    • 25 Mick LaSalle
    Mean-spirited and not remotely clever, though it strives for archness at every turn.
    • 49 Metascore
    • 25 Mick LaSalle
    A sour misfire.
    • 63 Metascore
    • 25 Mick LaSalle
    It provokes nothing but yawns, and the sex it explores is stuff everybody knows about and says, "So what?"
    • 59 Metascore
    • 25 Mick LaSalle
    Promised to be the season's thoughtful action picture, turns out to have few thoughts and no thrills.
    • 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
    • 32 Metascore
    • 25 Mick LaSalle
    An overblown action monstrosity with no surprises, no exhilaration and no thrills.
    • 53 Metascore
    • 25 Mick LaSalle
    In an attempt to be complex and fair-minded, a simple story becomes a jumble of confused motivations.
    • 35 Metascore
    • 25 Mick LaSalle
    Could hardly be called a success -- it's rather a likable disaster.
    • 60 Metascore
    • 25 Mick LaSalle
    The result is a frustrating, boring mess.
    • 37 Metascore
    • 25 Mick LaSalle
    It's a big disappointment.
    • 40 Metascore
    • 25 Mick LaSalle
    Maybe there's a metaphor here, but figuring it out wouldn't make Trouble Every Day any better.
    • 27 Metascore
    • 25 Mick LaSalle
    A childish, empty effort.
    • 70 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
    • 26 Metascore
    • 25 Mick LaSalle
    Has to go down as a failed comedy. It's just not enough of a comedy.
    • 52 Metascore
    • 25 Mick LaSalle
    An utter debacle.
    • 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.
    • 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.
    • 70 Metascore
    • 25 Mick LaSalle
    Liotta's acting can't redeem senseless violence.
    • 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.
    • 32 Metascore
    • 25 Mick LaSalle
    It's a romantic comedy with insights into sex and relationships that are old and obvious.
    • 25 Metascore
    • 25 Mick LaSalle
    What we have is the case of a movie with a straight man (Jason Lee) who really is funny, but with a comic (Tom Green) who sadly isn't.
    • 14 Metascore
    • 25 Mick LaSalle
    The audience has already checked out, long before the formulaic finish.
    • 68 Metascore
    • 25 Mick LaSalle
    The movie is overplotted, a soulless maze of special effects and relentless action.
    • 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.
    • 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.
    • 23 Metascore
    • 25 Mick LaSalle
    Falls apart immediately, then limps on for 45 minutes more.
    • 42 Metascore
    • 25 Mick LaSalle
    An action blockbuster that's one of the biggest misfires in its genre since "Godzilla."
    • 64 Metascore
    • 25 Mick LaSalle
    Midway, Mondays in the Sun becomes as dull as a day with nothing to do.
    • 45 Metascore
    • 25 Mick LaSalle
    SWAT is better than "Gigli," but so is most outpatient surgery.
    • 40 Metascore
    • 25 Mick LaSalle
    Friedkin is steeped in gore, like some cinematic Macbeth, and it's obscuring his artistic vision.
    • 53 Metascore
    • 25 Mick LaSalle
    The moments of action are interspersed with lengthy plot developments that are hard to follow.
    • 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
    • 27 Metascore
    • 25 Mick LaSalle
    It's as close to nothing as anything could be while still being something.
    • 19 Metascore
    • 25 Mick LaSalle
    Why was the sight of scrawny Woody Allen kissing pretty Diane Keaton never revolting, while scrawny David Spade kissing beautiful Sophie Marceau in Lost & Found is the creepiest cinematic sight of the year?
    • 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.
    • 12 Metascore
    • 25 Mick LaSalle
    At times, it actually hurts to watch.
    • 23 Metascore
    • 25 Mick LaSalle
    About as weak a movie as can be made without actively trying.
    • 59 Metascore
    • 25 Mick LaSalle
    Convoluted.
    • 65 Metascore
    • 25 Mick LaSalle
    A ponderous and dreadful film.
    • 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.
    • 73 Metascore
    • 25 Mick LaSalle
    Here's a tiresome feature that could be made into a wonderful 20-minute film -- or, with a few adjustments, into two or three 10-minute shorts.
    • 32 Metascore
    • 25 Mick LaSalle
    A disgrace to the talents of Robert De Niro and Eddie Murphy, but it's not enough just to say that. It's also a disgrace to the talents of Rene Russo and whoever drove the coffee truck to the set every day.
    • 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."
    • 39 Metascore
    • 25 Mick LaSalle
    This is strictly formula stuff, made worse by an utterly careless depiction of the characters.
    • 30 Metascore
    • 25 Mick LaSalle
    A wretched comedy about middle-aged romance.
    • 33 Metascore
    • 25 Mick LaSalle
    Super- violent, super-serious and super-stupid.
    • 64 Metascore
    • 25 Mick LaSalle
    Numbing and inert.
    • 43 Metascore
    • 25 Mick LaSalle
    The strain and desperation are apparent from the first scene.
    • 43 Metascore
    • 25 Mick LaSalle
    This seemingly good idea results in disaster. Allen has no insight into the current generation of young people, and his film is just a jumbled rehash of themes and motifs that he's explored elsewhere.
    • 42 Metascore
    • 25 Mick LaSalle
    Heartfelt but interminable movie.
    • 69 Metascore
    • 25 Mick LaSalle
    It boggles the mind that after six years of silence, all Tarantino has to offer is this garbage.
    • 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.
    • 58 Metascore
    • 25 Mick LaSalle
    A long-winded indulgence in tear-and-a-smile whimsy, elevated above the merely irritating and saccharine by compelling art direction.
    • 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.
    • 42 Metascore
    • 25 Mick LaSalle
    A dreadful exercise, with a script full of contradictions and empty gestures and a leading lady who's such a novice it hurts to watch her.
    • 26 Metascore
    • 25 Mick LaSalle
    Not surprisingly, only Samuel L. Jackson seems fully to understand that he's in a bad movie, and he makes a virtue of it, using it as an excuse to hang loose, overact and ride the scenes for wherever they might go.
    • 26 Metascore
    • 25 Mick LaSalle
    One could criticize A Night at the Roxbury for being a comedy that provides not a single laugh. That would be too easy.
    • 37 Metascore
    • 25 Mick LaSalle
    So desperate and silly that here and there, it's a lot of fun.
    • 70 Metascore
    • 25 Mick LaSalle
    This is an embarrassing film. It's a sex comedy that sets itself up as a satire of middle-class mores, except there's no truth behind any of its observations. LaBute tries to be shocking and manages only to be shockingly puerile -- tasteless in a high-school-boyish sort of way.
    • 45 Metascore
    • 25 Mick LaSalle
    One of those comedies in which almost everything good about it is extraneous. There are funny lines and quirky bits, but in terms of story and character, the movie is empty and pointless.
    • 27 Metascore
    • 25 Mick LaSalle
    The overall premise, involving mental illness and suicide, isn't all that funny, at least not in practice, and the picture begins to seem labored and long.
    • 31 Metascore
    • 25 Mick LaSalle
    The film is neither fish nor fowl nor some arresting new entity, but a lumpish coagulation of conflicting impulses and unrealized gestures.
    • 24 Metascore
    • 25 Mick LaSalle
    In Godsend, we have the spectacle of three good actors tied to the mast of a sinking premise.
    • 65 Metascore
    • 25 Mick LaSalle
    Flat and uninspired.
    • 42 Metascore
    • 25 Mick LaSalle
    Floats is corny and false, with a script by Steven Rogers that's almost 100 percent artificial sweetener.
    • 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.
    • 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.
    • 67 Metascore
    • 25 Mick LaSalle
    Showcasing three individuals whose spiritual and physical journeys are both repellent and mundane, the film is just a long and pointless slog.
    • 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.
    • 47 Metascore
    • 25 Mick LaSalle
    Going after one innocent man was bad enough. Going after another constitutes a pattern. This marshal isn't a hero. He's a menace.
    • 41 Metascore
    • 25 Mick LaSalle
    What a waste of a great comedian. What demented casting.
    • 20 Metascore
    • 25 Mick LaSalle
    Why, if Chase is such a funny guy, does he make such unfunny movies?
    • 28 Metascore
    • 25 Mick LaSalle
    About as awful as a film can be without being the ultimate awful, which is boring.
    • 44 Metascore
    • 25 Mick LaSalle
    The Village seems poised to become as cheesy in its effects as a low-budget horror film. Shyamalan's gracefulness keeps his movie just out of that abyss.
    • 37 Metascore
    • 25 Mick LaSalle
    A sour romantic comedy that arrives in theaters just in time to spoil Valentine's Day. Its plot is a catalog of unpleasantness. Its characters are repellent.
    • 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.
    • 19 Metascore
    • 25 Mick LaSalle
    Everything about it is manufactured -- the emotions are false, the sentiments are phony, and the story is a construction of mirthless silliness. It's a product, not a creative expression.
    • 44 Metascore
    • 25 Mick LaSalle
    A great role becomes an unenviable chore, in which a superb comic actress finds herself trying to sell a series of unfunny comic situations by mugging and pushing with all her might. It's an unflattering spectacle for all concerned.
    • 39 Metascore
    • 25 Mick LaSalle
    Stone tries to make us like Alexander because he's good, when he should have made us want to watch Alexander because he's amazing.
    • 65 Metascore
    • 25 Mick LaSalle
    The film itself is wretched. A grueling, numbing black hole.
    • 54 Metascore
    • 25 Mick LaSalle
    Neither funny nor outrageous nor horrifying nor conventionally affecting.
    • 46 Metascore
    • 25 Mick LaSalle
    Jaw-droppingly awful.
    • 39 Metascore
    • 25 Mick LaSalle
    Dreary movie.
    • 32 Metascore
    • 25 Mick LaSalle
    The satire is unfocused, while the story goes nowhere. Too bad. The material is ripe for satire.
    • 58 Metascore
    • 25 Mick LaSalle
    A disappointment, a precious and grotesque exercise reminiscent of Jean-Pierre Jeunet's "Delicatessen," only less amusing.
    • 29 Metascore
    • 25 Mick LaSalle
    Attempts to convey emotional dislocation and passion at the same time. All we get is distance.
    • 21 Metascore
    • 25 Mick LaSalle
    In the same genre as the Farrellys' "There's Something About Mary" and "Dumb and Dumber," only lousy.
    • 34 Metascore
    • 25 Mick LaSalle
    Another inert, soul-dead action drama that turns actors into zombies...It's garbage.
    • 35 Metascore
    • 25 Mick LaSalle
    A thriller without thrills. It's also a thriller that cheats. The story is stretched to feature length only by having the film's incidents arranged in such a way as to reveal as little as possible.
    • 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.
    • 59 Metascore
    • 25 Mick LaSalle
    It's the worst kind of convoluted thriller -- it can never unravel satisfactorily because there's nothing simple at its center, just more confusion.
    • 50 Metascore
    • 25 Mick LaSalle
    The movie isn't hellish, because there's always hope of leaving it. It's more like purgatory, two whole hours of it.
    • 46 Metascore
    • 25 Mick LaSalle
    Has that title going for it, which might annoy or provoke you. It makes me suspicious. It's the kind of flashy, meaningless title that's usually given to drab, pointless films.
    • 45 Metascore
    • 25 Mick LaSalle
    The Chamber has nowhere to go and it goes there slowly, flirting in all directions.
    • 31 Metascore
    • 25 Mick LaSalle
    A third-rate effort, with a weak script, cheap-looking effects and no genuine frights.
    • 44 Metascore
    • 25 Mick LaSalle
    This is a half-hearted, derivative action film with not a single honest artistic impulse behind it.
    • 68 Metascore
    • 25 Mick LaSalle
    Its story meanders and doesn't build, and the pace is deadly.
    • San Francisco Chronicle
    • 44 Metascore
    • 25 Mick LaSalle
    Perfunctory, thrill- free sequel.
    • 41 Metascore
    • 25 Mick LaSalle
    An adventure in mediocrity that brings together some of the worst current techniques and trends.
    • 59 Metascore
    • 25 Mick LaSalle
    It's dreadful, but it's a special kind of dreadful -- the kind designed to appeal to intelligent people on principle.
    • 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.
    • 35 Metascore
    • 25 Mick LaSalle
    110 minutes of Euro silliness mitigated only by the presence of Huppert and the striking ability of the actors to keep a straight face throughout this mess.
    • 55 Metascore
    • 25 Mick LaSalle
    The film is glossy, but awful. Frenetic, but awful. Expensive, but awful. ... And awful.
    • 27 Metascore
    • 25 Mick LaSalle
    There's just the matter of facing it: that The Perfect Man is just something slapped together -- by people who don't care, for an audience they figure will care even less.
    • 55 Metascore
    • 25 Mick LaSalle
    Yes
    Mostly unbearable.
    • 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.
    • 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.
    • 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.
    • 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.
    • 50 Metascore
    • 25 Mick LaSalle
    Hoodlum is an overlong gangster movie, a bloated and often laughable attempt at an epic.
    • 33 Metascore
    • 25 Mick LaSalle
    Arrives in theaters today with a sheet over its head and a tag on its toe. So to speak. What we have here is a complete systemic failure, a comedy that's not funny, with action that's not thrilling.
    • 47 Metascore
    • 25 Mick LaSalle
    Has no truth, wisdom or honesty, and it's barely entertaining.
    • 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.
    • 47 Metascore
    • 25 Mick LaSalle
    Yet, it's watchable -- not remotely enjoyable, but watchable.
    • 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.
    • 22 Metascore
    • 25 Mick LaSalle
    But Congo leads to nothing but a fierce battle with the gray gorillas, a kind of guns vs. fangs scene; and a convenient and incongruous volcano eruption that looks as artificial as a video game.
    • 36 Metascore
    • 25 Mick LaSalle
    It's hard to sit all the way through Aeon Flux while fully awake.
    • 81 Metascore
    • 25 Mick LaSalle
    On its own terms, the film is overlong, repetitive and lacks impact. Even if this were the first gorilla-in-love movie ever made, audiences would come away vaguely dissatisfied, suspecting there was an intriguing idea buried somewhere in here, but it didn't quite come off.
    • 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.
    • 83 Metascore
    • 25 Mick LaSalle
    In the important things, in all the ways that really count, Caché is a handsome fraud.
    • 49 Metascore
    • 25 Mick LaSalle
    Everything connected with the lovers, who are the point of the movie, is either ordinary or unwittingly funny, and the laughs come early.
    • 46 Metascore
    • 25 Mick LaSalle
    The film is obvious, weak and scattered and seems more like a practical joke than a work of genuine passion. It is without exaggeration one of the most blindingly boring films I've seen in years.
    • 40 Metascore
    • 25 Mick LaSalle
    An attempt at a beautiful film about renewal -- about past love, love lost, longing and rediscovery -- but it has no emotional truth.
    • 58 Metascore
    • 25 Mick LaSalle
    With Hard Candy, the innocent are tortured along with the guilty -- the innocent, in this case, being the audience.
    • 23 Metascore
    • 25 Mick LaSalle
    A big disappointment.
    • 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.
    • 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.
    • 75 Metascore
    • 25 Mick LaSalle
    This is not one of the good Altmans. This isn't even one of the mediocre Altmans.
    • 45 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
    More than the usual bad or even numbingly horrible movie. It's an amalgam of many of the modern cinema's worst tendencies and modern filmmaking's most unfortunate misconceptions.
    • 53 Metascore
    • 25 Mick LaSalle
    Imagine the worst "Deadwood" episode ever, and you'll get an idea of the general tone of Beowulf & Grendel, which is full of anachronistic cursing, tortured syntax, dark humor and lots of hairy, homely, filthy-looking people.
    • 46 Metascore
    • 25 Mick LaSalle
    It's just off, odd and joyless.
    • 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.
    • 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.
    • 65 Metascore
    • 25 Mick LaSalle
    Coppola has no trouble convincing viewers that Marie Antoinette is an interesting historical subject, but there's a big distance between that and creating a fascinating personality or fashioning a compelling narrative.
    • 66 Metascore
    • 25 Mick LaSalle
    Thus, we find ourselves watching an ice-cold movie about competition that contains not a shred of rooting interest.
    • 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.
    • 36 Metascore
    • 25 Mick LaSalle
    These people are so stupid that they make us think, well, wait a second: Maybe those livers and kidneys could be put to better use.
    • 64 Metascore
    • 25 Mick LaSalle
    Director Edward Zwick tried to make a great movie, but somewhere in the process he forgot to make a good one.
    • 49 Metascore
    • 25 Mick LaSalle
    Blanchett's performance is Soderbergh's biggest mistake. He either encourages or permits her to play Lena as a Greta Garbo caricature, which is mildly amusing if you're interested in Garbo, but if you're interested in Lena and The Good German, you're out of luck.
    • 56 Metascore
    • 25 Mick LaSalle
    This isn't pleasant to watch. Neither is it amusing, intellectually engaging, whimsically fascinating, coldly satirical or painfully poignant, though at any given moment in this erratic film director Tom Tykwer might be trying for one of these conflicting tones.
    • 32 Metascore
    • 25 Mick LaSalle
    The Ex isn't painful, horrible or despicable, but it is an amazing mess.
    • 26 Metascore
    • 25 Mick LaSalle
    It's a dreadful exercise, tin-eared and sincere, bereft of any truth or inspiration.
    • 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.
    • 46 Metascore
    • 25 Mick LaSalle
    It's great to see cherished, longtime stars in big roles to which they can bring so much spontaneity and finesse; you wish only that this movie were sturdier and had aimed higher. Judging from the bloopers that unreel during Grumpier Old Men's end credits, the cast had lots of fun making this movie--more fun, it would seem, than it is to watch.
    • 70 Metascore
    • 25 Mick LaSalle
    The picture, which marks the debut of Mexican film maker Guillermo del Toro, is a dull hybrid - a ponderous art film crossed with a vampire story. [06 May 1994]
    • San Francisco Chronicle
    • 54 Metascore
    • 25 Mick LaSalle
    Higher Learning says nothing new or challenging and is too naive to inspire controversy.
    • 57 Metascore
    • 25 Mick LaSalle
    Bram Stoker's Dracula is a lovingly made, gorgeously realized, meticulously crafted failure. It has big names, a big budget, big sets, a big, thundering score and even big hair. But it doesn't do it. It doesn't excite or fascinate but just lies there on the screen. [13 Nov 1992, p. C1]
    • San Francisco Chronicle
    • 55 Metascore
    • 25 Mick LaSalle
    [Pedro Almodovar] gives it a nice try, but his approach turns out to be completely wrong for the material he's working with here. [25 May 1990]
    • San Francisco Chronicle
    • 34 Metascore
    • 25 Mick LaSalle
    For all it does right, there's something seriously wrong.
    • 31 Metascore
    • 25 Mick LaSalle
    Jack is a warm, heartfelt disaster that shows that life is fleeting but movies can be very long indeed.
    • 79 Metascore
    • 25 Mick LaSalle
    This picture is disgusting. [15 Aug 1986]
    • San Francisco Chronicle
    • 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.
    • 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.
    • 25 Metascore
    • 25 Mick LaSalle
    The film is intended to be light and whimsical, but with a core of sincere emotion. But it's as if the thing were made by Martian anthropologists who assume that human audiences are as twisted as the people onscreen.
    • 66 Metascore
    • 25 Mick LaSalle
    There's not a single moment here in which Nixon is admirable, decisive or appealing. Nixon doesn't work as a drama, but with a little push it might have been a great comedy.
    • 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
    • 53 Metascore
    • 25 Mick LaSalle
    Amateur gives the impression of a sloppy first draft. It begins with a splash, meanders until it reaches feature length, then ends abruptly.
    • 46 Metascore
    • 25 Mick LaSalle
    [Hartley] changes the script enough so that the integrity of his experiment goes out the window. But he doesn't change enough so that the narrative can have any suspense.
    • 50 Metascore
    • 25 Mick LaSalle
    Has no narrative throughline, no emotional spine. It's a mess.
    • 53 Metascore
    • 25 Mick LaSalle
    Franco Zeffirelli's Hamlet, a senselessly adapted, ill-conceived, poorly acted mess of a film that's guaranteed to frustrate anyone who loves the play and to put everybody else to sleep. [18 Jan 1991]
    • San Francisco Chronicle
    • 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
    • 48 Metascore
    • 25 Mick LaSalle
    Unfortunately, Sucka falls apart after the first half-hour. The action sequences are confusing and senseless. The setups for the action scenes are long and pointless. You know where the movie is heading, and there are no surprises along the way. It's one joke, over and over. [17 Feb 1989, p.E7]
    • San Francisco Chronicle
    • 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
    • 24 Metascore
    • 25 Mick LaSalle
    The Adventures of Ford Fairlane, is a stiff, guaranteed to disappoint just about everybody, except those rooting against him. [11 Jul 1990, p.E1]
    • San Francisco Chronicle
    • 37 Metascore
    • 25 Mick LaSalle
    A limp, slow-moving and desperately unfunny comedy.
    • 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.
    • 50 Metascore
    • 25 Mick LaSalle
    It takes a winning recipe and adds some distinctly Hollywood flavors...The result is a botched job.
    • 46 Metascore
    • 25 Mick LaSalle
    The film doesn't make a case for Lavoe as an important artist.
    • 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.
    • 54 Metascore
    • 25 Mick LaSalle
    A complete bust, but the ways in which it fails are interesting.
    • 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.
    • 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.
    • 42 Metascore
    • 25 Mick LaSalle
    This is just plain bad - and it's a surprise.
    • 39 Metascore
    • 25 Mick LaSalle
    The presence of Washington lends the picture a much-needed dose of authenticity. But in the end Virtuosity is disconnected and uninvolving, despite -- or maybe because of -- a climax that comes in three distinct waves. One section seems to be a half-hour sound-and-light show.
    • 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.
    • 47 Metascore
    • 25 Mick LaSalle
    It gets worse and worse as it goes along and finally ends just as it's becoming unbearable.
    • 29 Metascore
    • 25 Mick LaSalle
    A romantic comedy and an adventure story, but in this case that just means it bombs in two distinct ways.
    • 52 Metascore
    • 25 Mick LaSalle
    Inside 10 minutes, at most 15, Be Kind Rewind reveals itself as an awful mess, and it only gets worse.
    • 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.
    • 41 Metascore
    • 25 Mick LaSalle
    Another dreadful, not-funny Owen Wilson movie, in which Wilson is the best thing.
    • 37 Metascore
    • 25 Mick LaSalle
    This is a story that should have been, at the absolute most, 20 minutes long.
    • 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.
    • 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.
    • 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.
    • 54 Metascore
    • 25 Mick LaSalle
    Serious intent may be lurking somewhere in there, but it's buried under layers of stupidity - not just stupid jokes, which is what you want from Sandler, but also stupid, shallow thinking.
    • 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.
    • 53 Metascore
    • 25 Mick LaSalle
    Australia shows all the signs of having been a labor of love for director Baz Luhrmann. One problem: It's his love, and the audience's labor.
    • 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.
    • 49 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.
    • 37 Metascore
    • 25 Mick LaSalle
    The first and most honest thing to say about Miracle at St. Anna is that it's an awful mess.
    • 45 Metascore
    • 25 Mick LaSalle
    A single 125-minute monstrosity of a cop movie.
    • 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.
    • 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.
    • 38 Metascore
    • 25 Mick LaSalle
    A mess.
    • 64 Metascore
    • 25 Mick LaSalle
    Che
    If Soderbergh's ambition was to make us feel just how dull it would be to a woods-dwelling communist guerrilla, he succeeded.
    • 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.
    • 70 Metascore
    • 25 Mick LaSalle
    The movie's excruciating length is without dramatic or thematic justification.
    • 57 Metascore
    • 25 Mick LaSalle
    Witless banter might have won Ginger Rogers for Fred Astaire, but Thompson is too smart for that.
    • 40 Metascore
    • 25 Mick LaSalle
    In its second half, Outlander falls apart completely, becoming nothing but a violent, mindless monster movie along the lines of "Alien vs. Predator."

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