For 3,087 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 2.4 points lower than other critics. (0-100 point scale)

Mick LaSalle's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 American Splendor
Lowest review score: 0 The Avengers
Score distribution:
3087 movie reviews
    • 62 Metascore
    • 50 Mick LaSalle
    Onward goes on and on, but it barely moves forward. Long before its 114-minute running time has elapsed, it has overstayed its welcome.
    • 70 Metascore
    • 75 Mick LaSalle
    A small, independent comedy-drama that does a number of things very well. It does them all quietly. The scenes don’t swing for the fences. The emotional work is true, not pushed, and by the end, the movie ends up giving the sense of a world.
    • 63 Metascore
    • 50 Mick LaSalle
    The characters are engaging, and writer-director Stella Meghie is able to keep us interested in them for about an hour — and then the drama leaks out of the movie completely.
    • 49 Metascore
    • 50 Mick LaSalle
    Downhill is not a funny movie and wasn’t intended to be. It has moments of humor, but of the more uncomfortable variety, not the kind that provoke laughter, but cringing.
    • 95 Metascore
    • 100 Mick LaSalle
    There are many great acting moments in this film, but you should especially savor the final shot, the long close-up of Haenel in profile. Put simply, it’s why we go to the movies.
    • 54 Metascore
    • 50 Mick LaSalle
    It’s not for people in the midst of their teen years, but for kids who are right on the edge of that social, hormonal discombobulation and are anticipating it with fear and dread. If “To All the Boys” gives courage and reassurance to apprehensive preteens — and is there any other kind? — then it will have served its public service. Still, as a movie, as entertainment … eh, it’s OK.
    • 60 Metascore
    • 0 Mick LaSalle
    Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn is more than horrible. It should not exist. Money should never have been raised for it. The screenplay should never have been filmed. Margot Robbie shouldn’t have produced it. She certainly shouldn’t have starred in it. It’s just a terrible thing to inflict on audiences, who, after all, didn’t hurt anyone and just hoped to have a nice time.
    • 77 Metascore
    • 75 Mick LaSalle
    The Assistant isn’t a particularly enjoyable film, but its message and quiet power linger for days.
    • 45 Metascore
    • 100 Mick LaSalle
    It’s Lively’s movie, and it’s she who kicks this superior thriller up an extra notch, to the point that it’s not only worth seeing for the excitement and thrills, but for her.
    • 51 Metascore
    • 25 Mick LaSalle
    Of course, the real problem here isn’t that Ritchie isn’t Noel Coward, but that he’s not clever or funny in his own right. The Gentleman isn’t offensive, and it’s not even good enough to qualify as coarse. If it weren’t mildly annoying, it would be as close to nothing as an experience can be.
    • 52 Metascore
    • 50 Mick LaSalle
    So there you have it, a so-so movie with a lot of good parts. In truth, The Last Full Measure has more good parts than most better movies, but everything connecting those parts feels rote, sometimes ham-fisted.
    • 77 Metascore
    • 75 Mick LaSalle
    Clemency is slow and without much suspense. The real question isn’t whether this person or that person will be executed, but whether Bernardine will go to pieces, and yet with a performance like Woodard’s at the center, that’s all a movie needs.
    • 59 Metascore
    • 75 Mick LaSalle
    A funny, satisfying action comedy that never disappoints.
    • 78 Metascore
    • 75 Mick LaSalle
    As a slice of life, Les Misérables is satisfying enough, but as the film wears on, the movie goes beyond the slice of life. It steers in the direction of drama and consequences, as the story narrows, and pressures come to a boil.
    • 48 Metascore
    • 75 Mick LaSalle
    Eubanks takes someone else’s screenplay, one that’s full of incident, and infuses it with his own sensibility. Alfred Hitchcock wasn’t a writer, either. Being a good director with a real point of view — that’s plenty.
    • 32 Metascore
    • 25 Mick LaSalle
    It’s just cheap, it’s bad, and a completely out-of-left-field Pink Floyd reference — one of their employees is named Syd, the other Barrett — doesn’t help. It just feels like part of the general sloppiness.
    • 68 Metascore
    • 75 Mick LaSalle
    Just Mercy isn’t the best movie that could have been made from its subject, but it’s good enough.
    • 41 Metascore
    • 25 Mick LaSalle
    I saw this movie in the middle of the day, having had a great night’s sleep, and I had to slap myself awake a few times.
    • 81 Metascore
    • 75 Mick LaSalle
    Invisible Life is not an entirely fun watch, and its 139-minute running time is an investment and sometimes feels like it. But it offers something more than the usual experience.
    • 51 Metascore
    • 50 Mick LaSalle
    There’s a mystery at the heart of The Song of Names, but it isn’t much of a mystery, and once it’s solved, the movie loses what little interest it has. Though not exactly a Holocaust drama, the film is one in which the Holocaust figures tangentially, but crucially. Yet the movie’s overall effect is strangely inert.
    • 91 Metascore
    • 50 Mick LaSalle
    So the most noticeable thing about the first minutes of Greta Gerwig’s new screen adaptation of the Louisa May Alcott classic is that the women in Little Women seem just a little bit snooty here, more like privileged actresses from 2019 than like a Northern family living in genteel poverty during the Civil War.
    • 78 Metascore
    • 75 Mick LaSalle
    By the time it ends, Mendes has built within the audience an intense desire to see the men’s message successfully delivered, and like a true dramatist, Mendes milks it for every drop of tension. He does not blow his big finish.
    • 90 Metascore
    • 75 Mick LaSalle
    Uncut Gems remains, from start to finish, a tale told about an idiot, full of sound and fury, signifying nothing. By the time it’s all over, nothing is exactly what you might feel. But Sandler and Fox give it the humanity the Safdies wanted there. The movie needed it and got it from the actors.
    • 53 Metascore
    • 50 Mick LaSalle
    Star Wars: The Rise of Skywalker does the most important thing, the one thing it absolutely had to do. It ends well.
    • 68 Metascore
    • 100 Mick LaSalle
    Jewell is not just a man, but a type, and his story is a warning, not just about the excesses of power, but about our own reflexive assumptions. Paul Walter Hauser gives us the soul of a man that deserved respect even before he did something heroic, but one that people might never have noticed.
    • 64 Metascore
    • 100 Mick LaSalle
    A superb drama about sexual harassment at Fox News.
    • 59 Metascore
    • 25 Mick LaSalle
    Even worse, Little Joe is a horror movie that, rather astonishingly, lacks a climax. The ending falls off a cliff. The result is not to make viewers ponder the unresolved and wonder what might happen next, but to question how they’ve spent the past 105 minutes.
    • 60 Metascore
    • 75 Mick LaSalle
    If you have any fear of heights, The Aeronauts is one of the most excruciating movie experiences since “The Walk” (2015), which replicated Philippe Petit’s high-wire stunt between the World Trade Center towers in 1974.
    • 75 Metascore
    • 100 Mick LaSalle
    The Two Popes is movie nirvana, but anyone watching could appreciate the clash between these opposing dispositions and world views.
    • 82 Metascore
    • 100 Mick LaSalle
    One of the consistent pleasures of Knives Out is that, while its style evokes an earlier era, the script is very much a witty response to today’s world.

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