For 2,892 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 2.1 points lower than other critics. (0-100 point scale)

Mick LaSalle's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Chéri
Lowest review score: 0 Attack the Block
Score distribution:
2892 movie reviews
    • 67 Metascore
    • 50 Mick LaSalle
    The story doesn’t deliver. The songs are forgettable. And the magic never descends. Supposedly, Mary Poppins returns, but that’s not Mary. Emily Blunt stole somebody’s umbrella.
    • 61 Metascore
    • 75 Mick LaSalle
    This is a moderately but consistently entertaining film, with but one extraordinary thing about it, which is Saoirse Ronan in the title role.
    • 69 Metascore
    • 100 Mick LaSalle
    What makes Ben Is Back different is that, even if this kind of pain is completely outside your own experience, you’ll feel some of it watching this movie.
    • 53 Metascore
    • 25 Mick LaSalle
    The effort behind Bird Box was to make something better than a standard horror movie, but the result is dull and half-hearted. It’s not serious enough or important enough to transcend the horror genre, but neither is it visceral enough to hold up as a regulation horror movie.
    • 51 Metascore
    • 50 Mick LaSalle
    The filmmaking seems caught between a genuine desire to present life as it’s actually lived and an obligation (self-imposed) to be politically correct at all times. Even so, the filmmakers, here and there, craft scenes that have the ring of truth.
    • 70 Metascore
    • 100 Mick LaSalle
    There are great movies every year, but every so often there’s a movie that’s not only great but new, that advances the form a little, that pushes movies to a different place. Such movies get remembered as the thing that happened in cinema that year. The thing that happened in 2018 is Vox Lux.
    • 91 Metascore
    • 100 Mick LaSalle
    It’s a bit crazy, wild yet precise, a mix of comedy and drama that feints in the direction of anachronism, even as it provides a grand showcase for Rachel Weisz, Emma Stone and Olivia Colman, who are extraordinary.
    • 96 Metascore
    • 75 Mick LaSalle
    Far from the year’s best movie, but in its best moments, it demonstrates a profound cinematic mastery.
    • 67 Metascore
    • 75 Mick LaSalle
    Creed II can’t be new this time out, but it does prove that the characters and relationships introduced in the first movie have staying power. People can keep making these movies and no one will mind.
    • 61 Metascore
    • 50 Mick LaSalle
    A near-miss, but a miss all the same.
    • 70 Metascore
    • 100 Mick LaSalle
    There’s something so deeply right about this movie, so true to the time depicted and so welcome in this moment; so light in its touch, so properly respectful of its characters, and so big in its spirit that the movie acquires a glow.
    • 84 Metascore
    • 50 Mick LaSalle
    Most of Widows isn’t felt. It’s a cold exercise, and occasionally a ridiculous one, as when McQueen tries to get fancy, with camera angles that make no sense.
    • 78 Metascore
    • 75 Mick LaSalle
    The strength of the Coens is that they are so witty, skilled and smart, so in command of their medium, so fluid and agile, so capable of surprising and delighting from every angle, that they can make the grimmest story bearable, even palatable.
    • 43 Metascore
    • 25 Mick LaSalle
    Foy is anything but mysterious or feral. Rooney Mara and Noomi Rapace, who previously played this role, seemed appropriately weird, but weird depends on hiding something, and Foy hides nothing.
    • 76 Metascore
    • 75 Mick LaSalle
    Pike’s Colvin is brave, but she’s not tough, and, scene by scene, she reveals more and gives more than she probably means to.
    • 71 Metascore
    • 100 Mick LaSalle
    Maria By Callas finds lots of press footage that most of us have never seen, filmed interviews either for television or newsreels, and it’s all fascinating.
    • 71 Metascore
    • 75 Mick LaSalle
    Joel Edgerton, who wrote and directed, co-stars in Boy Erased. Edgerton casts himself as Sykes, who runs the conversion program, and he couldn’t have found a better actor for the role.
    • 64 Metascore
    • 0 Mick LaSalle
    Suspiria is not just a movie unworthy of your time. It’s an experience one should reflexively recoil from, up there with things like fire, pain, humiliation and embarrassment. Easily, it’s one of the worst movies of 2018.
    • 49 Metascore
    • 75 Mick LaSalle
    Bohemian Rhapsody is probably what Freddie Mercury was aiming for all along, a big, splashy, half-true biopic in the Hollywood style. It’s a bit corny, but grand; a bit obvious, but entertaining, and inspiring almost in spite of itself.
    • 80 Metascore
    • 75 Mick LaSalle
    Wildlife isn’t dazzling entertainment but an intelligent, low-key and satisfying film with a rare respect for every character.
    • 43 Metascore
    • 50 Mick LaSalle
    Hunter Killer seems old-fashioned. It belongs to a genre that was pretty much exhausted before the Cold War was over. And it threatens us with a world that, from the standpoint of 2018, doesn’t look all that bad. The movie is overlong, at times confusing, and it’s self-important, with a soundtrack that keeps telling us we feel things that we don’t.
    • 87 Metascore
    • 100 Mick LaSalle
    A breakthrough for McCarthy and a highlight of the movie year.
    • 58 Metascore
    • 100 Mick LaSalle
    The Oath is harsh. It’s extreme. It goes to places you don’t expect, and then past those places. It’s the most unpleasant comedy in a long time, and lots of people will absolutely hate it. It’s also one of the best movies of the year.
    • 60 Metascore
    • 50 Mick LaSalle
    The directorial talent is there. Now if he can just be persuaded to let someone else write the script next time, we might have something serious to talk about.
    • 69 Metascore
    • 75 Mick LaSalle
    Can’t we just stipulate that everything that Greengrass is saying is right, and then go see “A Star Is Born” again? Can’t we give ourselves a break?
    • 35 Metascore
    • 50 Mick LaSalle
    In the end, Venom exists in what may end up being regarded as a no-man’s land — too much like a superhero movie to appeal to people who despise the genre, and yet too deliberately silly to be taken seriously by superhero fans. There’s nothing memorable in Venom, nothing to talk about the next day. But if it happens to hit you right, its lightness is refreshing.
    • 88 Metascore
    • 75 Mick LaSalle
    There is plenty that’s wrong with it, and there’s plenty that’s right with it. But the truth is, in the moment, no one is balancing pros and cons. I just loved it. It’s a film that combines an overall feeling of modernity and relevance with the glow of old-time glamour.
    • 74 Metascore
    • 75 Mick LaSalle
    Colette is never dazzling. It has erotic elements, but nothing like “Becoming Colette,” which is, on balance, a weaker film. There’s not a single great scene. But there is no scene that is less than intelligent. Colette is smart, conscientious and absorbing, and gradually, in its diligent way, achieves a certain fascination.
    • 43 Metascore
    • 75 Mick LaSalle
    The promise is double the fun, double the laughs, and the movie can’t quite deliver on that. But there are still big laughs to be had, and there’s the pleasure of watching these two gifted comedians sharing the same frame.
    • 74 Metascore
    • 100 Mick LaSalle
    Thanks to Radner’s letters, diaries and autobiography, director Lisa D’Apolito is able to tell us, with great immediacy, what Radner’s thoughts were at the time. We come away with the portrait of someone who was never just going along for the ride, but who was always questioning and challenging herself, working toward professional excellence and hoping for an ideal romance.

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