For 2,866 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 points lower than other critics. (0-100 point scale)

Mick LaSalle's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Little Children
Lowest review score: 0 Romeo + Juliet
Score distribution:
2866 movie reviews
    • 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.
    • 67 Metascore
    • 75 Mick LaSalle
    Juliet, Naked is very like a Hornby novel in that it’s irresistible and appealing and full of tenderness and idiosyncrasy, and yet when you try to tell people what was so great about it, you can’t do it justice.
    • 52 Metascore
    • 50 Mick LaSalle
    Hunnam makes a strong impression as a tough guy in the title role, but there’s something about either him or the filmmaking or the subject matter that allows viewers to resist making his problems our problems.
    • 38 Metascore
    • 25 Mick LaSalle
    The movies have been heading toward this for a while, and now with Mile 22 we get a film that is almost wall-to-wall violence. There is very little talk, and what little talk there is is entirely confrontational. People are either cursing at each other, threatening each other or killing each other.
    • 30 Metascore
    • 50 Mick LaSalle
    As Hunt’s life unravels, so does the movie, though the story maintains a certain baseline of interest just by virtue of being sordid.
    • 83 Metascore
    • 100 Mick LaSalle
    Spike Lee is relevant again. He's necessary again.
    • 67 Metascore
    • 50 Mick LaSalle
    Wondering what’s real and what’s just a carefully crafted crock doesn’t make Scotty and the Secret History of Hollywood a better experience. It makes it a little pointless and frustrating.
    • 46 Metascore
    • 25 Mick LaSalle
    It’s a tired, inert sci-fi thriller featuring a succession of escalating action sequences that all, somehow, fail to ignite. The cliches mount.
    • 66 Metascore
    • 50 Mick LaSalle
    In any case, Puzzle ends strangely, in a way that’s not clear what the filmmakers intended or how we’re supposed to feel about it. It’s entirely possible that sending the audience out feeling lousy was intentional.
    • 52 Metascore
    • 25 Mick LaSalle
    It is never remotely serious, and yet for the most part it isn’t funny, either.
    • 39 Metascore
    • 0 Mick LaSalle
    The movie is 105 minutes long but seems about 45 minutes longer, with uneventful stretches and at least three sections where the action stops for musical interludes featuring goopy pop music.
    • 86 Metascore
    • 100 Mick LaSalle
    Cruise and McQuarrie have made the best film in the franchise’s history and the most enjoyable and exciting action movie in several years.
    • 60 Metascore
    • 50 Mick LaSalle
    Even now, I can’t decide if it was horrible or if I liked it and must conclude that both things must be true. It really was horrible, and I liked it, anyway.
    • 76 Metascore
    • 100 Mick LaSalle
    One of the year’s great films, and somehow you can tell from the opening moments.
    • 66 Metascore
    • 50 Mick LaSalle
    Something about Don’t Worry, He Won’t Get Far on Foot keeps it from adding up to a satisfying movie experience. It has the feeling, rather, of a story you might hear about a friend of friend.
    • 50 Metascore
    • 50 Mick LaSalle
    Too bad. The trappings of The Equalizer 2 are first-rate — the star, the director, the central character, the concept — and they make for a movie that’s watchable and intermittently pleasing. But not enough time was spent getting the substance right.
    • 45 Metascore
    • 75 Mick LaSalle
    Shock and Awe is no “All the President’s Men,” but it does present a nice balance to the earlier film’s ultimately rosy picture.
    • 51 Metascore
    • 50 Mick LaSalle
    It’s slow getting off the ground, and never completely achieves flight, at least not in the sense of transport. It remains a series of sequences, some terrific and some less so, but at least the movie keeps finding new ways for people to fall off a building while on fire. So there’s that.
    • 74 Metascore
    • 100 Mick LaSalle
    Robin Williams: Come Inside My Mind captures that special quality that Williams had, the extra quality that went beyond the laughs, that communicated his whole being.
    • 81 Metascore
    • 75 Mick LaSalle
    As fresh as today’s newspaper — or a blog post — or a tweet from a minute ago. It’s a response to what is going on right now, and it feels like it, not only in content, but in form.
    • 81 Metascore
    • 100 Mick LaSalle
    Three Identical Strangers tells a remarkable story. In fact, it tells several. It’s already extraordinary 20 minutes in, and then it goes to unexpected and yet more amazing places, like a narrative feature by a master storyteller.
    • 75 Metascore
    • 100 Mick LaSalle
    If you liked Whitney Houston before, you’ll like her even more after seeing this. You’ll also admire her and feel pity for her and feel frustrated by her.
    • 63 Metascore
    • 25 Mick LaSalle
    Damsel is a misguided exercise, a 113-minute mistake and a waste of time, but it does have a good opening.
    • 50 Metascore
    • 25 Mick LaSalle
    Boundaries is a slog, a succession of weak and uninteresting incidents, leading to a conclusion that seems foreordained.

Top Trailers