For 3,072 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 2.3 points lower than other critics. (0-100 point scale)

Mick LaSalle's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Like Crazy
Lowest review score: 0 The Darkest Minds
Score distribution:
3072 movie reviews
    • 58 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.
    • 49 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.
    • 40 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.
    • 82 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.
    • 79 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.
    • 54 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.
    • 69 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.
    • 65 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.
    • 75 Metascore
    • 25 Mick LaSalle
    Essentially, this is a two-person picture that falls flat.
    • 51 Metascore
    • 50 Mick LaSalle
    But let’s be fair: If this were the first cop movie ever made, we’d be grateful for it. It holds interest. It’s never quite boring. And there are worse things you can do with your time than watch Boseman, Miller and Simmons for an hour and a half. Just know that 21 Bridges is the kind of movie you’ll forget five minutes after seeing it.
    • 80 Metascore
    • 75 Mick LaSalle
    As Mister Rogers, Tom Hanks does something very important, besides looking and sounding enough like Fred Rogers that we can accept him in the role. He captures the supreme self-confidence it takes to be that nice and giving.
    • 64 Metascore
    • 75 Mick LaSalle
    At its best, and it’s mostly at its best, Frozen II has an air of enchantment.
    • 52 Metascore
    • 50 Mick LaSalle
    As a movie, Charlie’s Angels has serious problems, but the new Angels trio is promising and shows there’s life yet in the old formula. There’s something going on here. It’s just not quite there yet.
    • 66 Metascore
    • 75 Mick LaSalle
    This is interesting, at least reasonably. But to a large extent, how you perceive the film will have much to do with how you see the story as relating to today’s headlines.
    • 81 Metascore
    • 100 Mick LaSalle
    Ultimately, Ford v Ferrari is about art versus commerce, devotion versus cynicism, and inspiration versus deadness. It’s one of the year’s great films, and of all the great films so far, the most accessible.
    • 55 Metascore
    • 75 Mick LaSalle
    The back and forth, the listening and reacting between Mirren and McKellen, as each of their characters gauges the other and as we mark the incremental shifts and exchanges of power, is pure pleasure.
    • 50 Metascore
    • 50 Mick LaSalle
    Most of Last Christmas consists of watching this young woman stumble and fumble through life, and thanks to Clarke’s effortless ability to engage a viewer’s sympathy, that’s almost enough.
    • 47 Metascore
    • 50 Mick LaSalle
    From the beginning, Midway has awkward dialogue and an atmosphere that seems a bit too 2019, but for a time, the movie’s high stakes make up for that.
    • 94 Metascore
    • 100 Mick LaSalle
    The Irishman is all about the end of something. It is to gangster movies what John Ford’s “The Man Who Shot Liberty Valance” was to westerns. Without a doubt, it’s a masterpiece.
    • 75 Metascore
    • 50 Mick LaSalle
    By the Grace of God begins to spin its wheels, with unnecessary scenes that give color to the events, when we’re more interested in the grand movements.

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