For 2,845 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 1.9 points lower than other critics. (0-100 point scale)

Mick LaSalle's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Magic Mike
Lowest review score: 0 McHale's Navy
Score distribution:
2845 movie reviews
    • tbd 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.
    • 82 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.
    • 51 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.
    • 51 Metascore
    • 75 Mick LaSalle
    Howard and Pratt don’t get to do much besides run like hell, but a movie like this in a way emphasizes rather than obscures the importance of star quality. They’re just so good-looking that it’s a pleasure to watch them -- idealized surrogates for humanity.
    • 56 Metascore
    • 25 Mick LaSalle
    Tag
    Tag isn’t interesting at all, but its failure is. It’s the kind of movie that makes the viewer ask questions, such as, why isn’t this working? Why is this bombing? Why is this dying the death? Why am I shifting in my seat just to stay conscious? The movie seems like it should be funny, but it’s not, so why?
    • 65 Metascore
    • 75 Mick LaSalle
    One of the nicest things about Hearts Beat Loud, and there are several nice things, is the way that Offerman and Clemons seem like father and daughter. This is the work of the actors, but also of the director.
    • 80 Metascore
    • 50 Mick LaSalle
    Incredibles 2 was 14 years in the making, and it feels almost that long watching it.
    • 58 Metascore
    • 100 Mick LaSalle
    As a first-time director, Pearce manages something difficult. He creates a tone that acknowledges absurdity, but also consequences. He finds an edge that’s extreme, that’s weird, that’s satirical and that goes right to the edge of farce, and yet the movie is at all points as involving as an intense drama.
    • 49 Metascore
    • 50 Mick LaSalle
    From a narrative feature, we want drama and illumination, the truths that go beyond the plain facts. That’s where Mary Shelley comes up a bit short. It’s never less than competent and intelligent, and here and there it’s better than that.
    • 56 Metascore
    • 25 Mick LaSalle
    Woodley has been first-rate in everything she’s been in, particularly the “Divergent” series. But there’s something about her performance here that feels like the sincere and dutiful dispersal of medicine.
    • 62 Metascore
    • 50 Mick LaSalle
    As entertainment, On Chesil Beach isn’t remotely satisfying, but it does deserve credit for being weird.
    • 85 Metascore
    • 100 Mick LaSalle
    First Reformed has a confidence about it, the presence of filmmaking consciousness that can’t do wrong, because this time he knows exactly what he wants to say, not only in a general sense, but second by second and shot by shot.
    • 53 Metascore
    • 50 Mick LaSalle
    There is a built-in pleasure in seeing Diane Keaton, Candice Bergen, Jane Fonda and Mary Steenburgen in the same movie. We’re used to them. We like them. We like being around them — but not so much that we can’t notice that Book Club is a pretty strained affair, not especially funny and weirdly off key.

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