For 937 reviews, this critic has graded:
  • 56% higher than the average critic
  • 4% same as the average critic
  • 40% lower than the average critic
On average, this critic grades 4.6 points higher than other critics. (0-100 point scale)

Mike Clark's Scores

  • Movies
Average review score: 64
Highest review score: 100 Tucker: The Man and His Dream
Lowest review score: 12 Jawbreaker
Score distribution:
937 movie reviews
    • 72 Metascore
    • 75 Mike Clark
    Impressive yet always self-conscious, Perdition has more class and less sass than any movie in a while.
    • 58 Metascore
    • 75 Mike Clark
    The star interplay and anachronisms recapture some of the surreal spirit of the Crosby-Hope Road movies, and the end-credit outtakes are funny enough to sustain that getting-hoary device for at least one more picture.
    • 56 Metascore
    • 75 Mike Clark
    A two hour aquatic pursuit pic with bruising stunts, fun-to-watch performances, a dozen good chortles and imposing Panavision renderings of post-apocalyptic crud, Waterworld clearly has the makings of a cult movie.
    • 55 Metascore
    • 75 Mike Clark
    There may be no crying need for this movie, but we could use the laughs.
    • 69 Metascore
    • 75 Mike Clark
    If it's not conventionally speedy, it is almost always gripping.
    • 65 Metascore
    • 75 Mike Clark
    This also is the rare combat movie that deals substantially with mourning widows on the home front.
    • 52 Metascore
    • 75 Mike Clark
    Consistently compelling without being truly memorable.
    • 75 Metascore
    • 75 Mike Clark
    Just a good time at the movies, but it's still a smarter two hours than most "good times" are.
    • 60 Metascore
    • 75 Mike Clark
    Alas, what you've heard about Sofia Coppola (as Michael's daughter) is true; she swallows words and speaks “valley girl.'' What a difference Winona Ryder would have made. [24 Dec 1990, Life, p.1D]
    • 57 Metascore
    • 75 Mike Clark
    Both female roles are unexpectedly meaty, so much so that the film loses something once the far more lively Stone is dispatched. Hour one (more satirical) is better all around, though the falloff isn't fatal. [1 June 1990, Life, p.2D]
    • 63 Metascore
    • 75 Mike Clark
    Emmerich might have had a masterpiece, but he'll have to settle for what comes close to being a must-see movie today.
    • 72 Metascore
    • 75 Mike Clark
    Ultimately, this film is more interesting than rousing; missing is a John Ford-ian wealth of idiosyncratic characters. [9 Nov 1990, Life, 4D]
    • 41 Metascore
    • 75 Mike Clark
    What we get is a tweaked variation on the litany of men-disguised-as-women comedies: "Some Like It Hot" and "Tootsie," just for starters. Obviously, this sassy farce sounds recycled and certainly appears to be in the coming attraction. Yet it's also funnier than expected in ways you wouldn't expect.
    • 66 Metascore
    • 75 Mike Clark
    There's a cold intelligence at work here. Though its pleasures are plentiful enough to reward a second viewing, only Nicholson has saved Warners from a wing-clip. [23 June 1989, Life, p.1D]
    • 62 Metascore
    • 75 Mike Clark
    Salvaged by its rally, Reloaded seems less tired than "X2," its current sequel rival. But since its creators have said it's only half of a movie, we won't really know until The Matrix Revolutions arrives Nov. 5 whether this chunk is fizzle or sizzle.
    • 62 Metascore
    • 75 Mike Clark
    While this movie is sometimes overbaked, it is the first major studio release in a while to engross wall-to-wall.
    • 64 Metascore
    • 75 Mike Clark
    Beauty is about two-thirds the serious-edged romp it would like to be, which still leaves a lot of room for tony fun.
    • 52 Metascore
    • 75 Mike Clark
    Though there are helmets deeper than this movie, you do have to admire the level of screen showmanship .
    • 71 Metascore
    • 75 Mike Clark
    It's a sweet tale, but the movie's real subject is Zhang, the camera's muse that the lens adores.
    • 65 Metascore
    • 75 Mike Clark
    This is a movie to be knocked, chewed and gummed, but not dismissed. It's the first 2001 release I've rushed to see twice.
    • 58 Metascore
    • 75 Mike Clark
    The presence of "Election's" Chris Klein as the male contingent's most sensitive member only emphasizes how much smarter that high school comedy was.
    • 56 Metascore
    • 75 Mike Clark
    This handsome movie works thanks to its lack of pretension and an atmosphere somewhat akin to the gentle wackiness of director Bill Forsyth's better works.
    • 78 Metascore
    • 75 Mike Clark
    As inspiring as the story wants to be, its real drama is mired around the edges, where we get a sense of what it is really like to be born into a brothel.
    • 65 Metascore
    • 75 Mike Clark
    Rocket flies with comic-kaze crooks. [21 February 1996, p. D6]
    • 82 Metascore
    • 75 Mike Clark
    Deliberately downbeat, it's best as a two-person character study, stumbling a bit whenever it extends its parameters.
    • 73 Metascore
    • 75 Mike Clark
    Preposterous to the extreme.
    • 74 Metascore
    • 75 Mike Clark
    Stately but static. [23 December 1997, p.3D]
    • 58 Metascore
    • 75 Mike Clark
    A movie of moments whose ultimate legacy may be to get Carrey out of formula comedies forever.
    • 74 Metascore
    • 75 Mike Clark
    The distanced result, screen-adapted by playwright Christopher Hampton, never quite overwhelms you. [21 Dec 1988, Life, p.1D]
    • 64 Metascore
    • 75 Mike Clark
    Between Jackson's opining and De Niro's hopeless alibis when he messes up, Jackie is good for a bundle of bloody ho-ho-hos.
    • 79 Metascore
    • 75 Mike Clark
    Williams is impressively restrained as well as funny, so fans need not fret. It only means that instead of Good Morning, Preppies, we're given a bittersweet, even eerie Goodbye, Mr. Hip. [2 June 1989, Life, p.1D]
    • 75 Metascore
    • 75 Mike Clark
    Viewers who like clean storytelling may not be happy. Those who savor ironic wrap-ups will be.
    • 67 Metascore
    • 75 Mike Clark
    Jeff Bridges has enough demons in The Door in the Floor to jam a crowd scene, but the actor's sheer likability remains undiminished.
    • 75 Metascore
    • 75 Mike Clark
    This movie is more wistful and winking, though it's obvious Mario is still working out emotional baggage with his tyrannically driven old man.
    • 60 Metascore
    • 75 Mike Clark
    A minor delight but a delight just the same.
    • 66 Metascore
    • 75 Mike Clark
    Gives Dennis Quaid one of his best screen showcases.
    • 66 Metascore
    • 75 Mike Clark
    Mean Girls has the same fancifully dead-on tone as the 1995 high-school comedy "Clueless" without the sweetness because, hey, these snits are mean.
    • 73 Metascore
    • 75 Mike Clark
    This has to be the raunchiest full-length animated feature since Fritz the Cat, which got an X rating in 1971.
    • 67 Metascore
    • 75 Mike Clark
    This movie is so much the opposite of uplifting that you think Gary Oldman ought to be in it. But it's honestly made, and its second half does linger in the memory.
    • 63 Metascore
    • 75 Mike Clark
    There's more terror than entertainment here, though. I've seen a lot of movies in my life I couldn't wait to see end; this may be the first good one.
    • 64 Metascore
    • 75 Mike Clark
    An equitably rude comedy about abortion, brazen by definition but also fairly droll. It's probably too schematic to reward more than a single viewing, but as a provocative one-time surprise it may become a specialized sleeper. [13 December 1996, p.4D]
    • 43 Metascore
    • 75 Mike Clark
    Potty humor to spare. [26 July 1996, p. D4]
    • 49 Metascore
    • 75 Mike Clark
    Engrosses if it doesn't fully convince. [18 October 1996, p.1D]
    • 60 Metascore
    • 75 Mike Clark
    Stylish, brisk but lacking in human dimension despite an attractive cast. [22 May 1996, p. D1]
    • 64 Metascore
    • 75 Mike Clark
    Easy to tumble for. [9 February 1996, p.D4]
    • 78 Metascore
    • 75 Mike Clark
    Indeed, Eve's milieu is fresh and specific enough to make even Jackson subordinate to Kasi Lemmons, the writer (and sometimes actress) who dreamed up this story for her directorial debut. [07Nov1997 Pg08.D]
    • 56 Metascore
    • 75 Mike Clark
    His complex personality comes through in this surprisingly affecting minor pleasure, though perhaps one shouldn't be surprised when two of Hoop Dreams' key makers reunite for another smart sports pic. [24Jan1997 Pg.03.D]
    • 72 Metascore
    • 75 Mike Clark
    Shot in semidocumentary fashion, it builds to a more visceral climax than one initially expects. [26Nov1997 Pg.09.D]
    • 62 Metascore
    • 75 Mike Clark
    But it does mine Murphy's gifts, and the payoff is both nutty and funny. Sometimes even touching, too. [28Jun1996 Pg.01.D]
    • 60 Metascore
    • 75 Mike Clark
    This is a blueprint for mainstream moviegoing, but be forewarned that the finale is surprisingly down-and-dirty. In this case, though, the violence blisteringly redeems what has been a merely OK thriller. [8Nov1996 Pg.01.D]
    • 71 Metascore
    • 75 Mike Clark
    Thing's opening hour is fast-paced, though not fast enough to obscure the reality that "American Graffiti" and "Diner" had sharper writing and certainly more psychological depth. [04 Oct 1996, Pg.01.D]
    • 60 Metascore
    • 75 Mike Clark
    Despite implied fidelity, we might as well be watching William Shakespeare's The Cable Guy. Yet the film's skewed stylistic flourishes capture enough of the original's spirit to provoke more respect than rejection. [01Nov1996, Pg. 01.D]
    • 61 Metascore
    • 75 Mike Clark
    Talk about the limitations of using the four-star rating system to assess a movie both glorious and dreadful, with the dreadful components glorious as well in their own bent way. [23 Feb 1996, p.1D]
    • 83 Metascore
    • 75 Mike Clark
    A Little Princess is the first of its progeny to blend brains with entertainment. This stylish sleeper easily outpaces the studio's starchy updates of "Black Beauty" and "The Secret Garden", and even betters Shirley Temple's 1939 take on Frances Hodgson Burnett's Princess perennial. [18 May 1995, 12D.]
    • 78 Metascore
    • 75 Mike Clark
    Clint Eastwood remains a competent, rather than distinctive, film maker, but he obviously respects the material. Bird is essentially factual, and we come to understand why so many other musicians thought shooting heroin might enable them to transfer [Charlie Parker]'s genius to themselves. [26 Sept 1988, p. 4D]
    • 67 Metascore
    • 75 Mike Clark
    Though Robocop is too well-crafted to be entirely loathsome, it's at best an amoral goof. Yet like the comparably silly Lethal Weapon, it cynically pushes all the right action-audience buttons. Better duck - here comes a monster hit. [17 Jul 1987]
    • 60 Metascore
    • 75 Mike Clark
    Though not exactly dynamic, the movie offers insights into a specific culture. Ashley Rowe's photography is exquisite, and Driver has never been better. [14 Aug 1998]
    • 55 Metascore
    • 75 Mike Clark
    Obviously armed with more gangster-of-love opportunities playing Pablo Picasso than he had playing Richard Nixon, Anthony Hopkins ends up opting here for wit over full-blooded passion, but it proves to be enough. [23 Sep 1996]
    • 71 Metascore
    • 75 Mike Clark
    The film is an impressive effort, yet often a trying one.
    • 65 Metascore
    • 75 Mike Clark
    Cult director Sam Raimi has come a long way since giving us killer tree limbs in whichever (I've repressed it) Evil Dead pic had them. With good leads and a few bucks, he's come up with a high-octane revenge piece mentionable in the same breath as its predecessors. [24 Aug. 1990]
    • 69 Metascore
    • 75 Mike Clark
    Once you're onto its wavelength (it doesn't take long), Linklater's passing parade starts to ring true. [15 Aug. 1991, p. 5D]
    • 50 Metascore
    • 75 Mike Clark
    Though there are scenes in Always (both intimate and spectacular) I love, the film does seem a bit asking-for-it-weightless following an Indiana Jones sequel. Yet if, as I suspect, many reviewers elect to carve up Always, the film will pick up its devotees - now or down the road. [22 Dec. 1989, p.1D]
    • 31 Metascore
    • 63 Mike Clark
    Slap Happy. [16 February 1996, p.D4]
    • 37 Metascore
    • 63 Mike Clark
    Despite a cast and production that seem to promise one of the year's first movies of any note, Cool never translates its promo-photo flashiness into authenticity on screen.
    • 44 Metascore
    • 63 Mike Clark
    Hostage is really about sleek Bruce - buff, bald and clean-shaven - as he goes to town on two sets of assailants.
    • 74 Metascore
    • 63 Mike Clark
    Mostly avoids being cloying but flirts with being precious. Yet Boyle is enough of a stylist to make it all passable. It's one of those films for which fans and detractors can see the others' viewpoint.
    • 44 Metascore
    • 63 Mike Clark
    Boorman's troubles usually come from going over the top (atop Exorcist II, there's always Zardoz). But this is one of his few misfires that almost anyone would call tepid.
    • 34 Metascore
    • 63 Mike Clark
    Sporadically amusing but sometimes slogging.
    • 56 Metascore
    • 63 Mike Clark
    By contrast, other Hornby screen adaptations are "About a Boy" and "High Fidelity"- superb comedies both and, in Fidelity's case, a treatise on male obsession with far more depth and even more laughs.
    • 62 Metascore
    • 63 Mike Clark
    With major stars, a name director and grown-up subject matter, this middling drama is less a movie to recommend with vigor than to covet on general principles.
    • 63 Metascore
    • 63 Mike Clark
    Though the journey ends on some fun notes after a sagging middle, Galaxy never fully breaks out.
    • 58 Metascore
    • 63 Mike Clark
    Ultimately, the movie doesn't make it, but there's enough going on to make it more arf than barf.
    • 70 Metascore
    • 63 Mike Clark
    The early going -- say, an hour -- is spent in a fatigued daze. A few powerful jabs eventually punch things up.
    • 76 Metascore
    • 63 Mike Clark
    There are some notable oddballs in the filmmaking debut of performance artist Miranda July, whose lead performance in this Sundance winner for "originality" is the most appealing thing about it.
    • 64 Metascore
    • 63 Mike Clark
    A showcase for Vince Vaughn's rantings and Owen Wilson's standard but affable chum act.
    • 33 Metascore
    • 63 Mike Clark
    It's for people who have always wanted to see Willie Nelson ("Uncle Jesse") lob Molotov cocktails on a freeway and smoke weed with Joe Don Baker, who plays Georgia's governor.
    • 47 Metascore
    • 63 Mike Clark
    Director Iain Softley employs intriguing camera angles to heighten some of the suspense. It's too bad the movie goes over the top and falls apart in the last third.
    • 56 Metascore
    • 63 Mike Clark
    But certainly this is a movie for fans of Willis-style action with a little James Bond and probable instant obsolescence thrown in.
    • 47 Metascore
    • 63 Mike Clark
    Garnering a chuckle or two, but no more, are Donal Logue from "The Tao of Steve" (now there's a comedy) -- and, as a desperate magnet for both the slacker and "dude" demographics, Jon Heder from Napoleon Dynamite.
    • 62 Metascore
    • 63 Mike Clark
    Intelligent but not particularly involving.
    • 59 Metascore
    • 63 Mike Clark
    Roll Bounce rates a friendly nod. If it doesn't exactly kick out the jams, it does move them around a little bit.
    • 65 Metascore
    • 63 Mike Clark
    The big surprise in Polanski's Oliver is the lack of a discernible personal stamp, especially from such a directorial master of the macabre.
    • 50 Metascore
    • 63 Mike Clark
    McConaughey will never be an actor who lets you into his soul, but he's credible as a good ole boy.
    • 34 Metascore
    • 63 Mike Clark
    For a big-screen disposable, Doom has a few jolts, a few good laughs and an attractive female lead to whom you want to say, "What's a nice girl like you doing on a Mars like this?"
    • 59 Metascore
    • 63 Mike Clark
    Fanning and Russell make this watchable family entertainment, if not necessarily at today's prices.
    • 72 Metascore
    • 63 Mike Clark
    All three actors give it their all, but Monaghan stands out with a sexy yet oddly down-to-earth variation on the Midwest girl gone wrong, thanks partly to a dark dysfunctional family secret.
    • 47 Metascore
    • 63 Mike Clark
    Of all things, this movie has the same problem "Ghostbusters 2" had, which is this: You can't take bigger-than-life screen types and toss them into everyday, regular-folk situations.
    • 61 Metascore
    • 63 Mike Clark
    This is one glum outing, with occasional pings of wry wit and hearty chuckles.
    • 47 Metascore
    • 63 Mike Clark
    Still, there are some funny surprises, from skewering overdone Christmas decorations to casting Chris Klein as a creep.
    • 51 Metascore
    • 63 Mike Clark
    Because snowboarding is younger than skateboarding and surfing, Descent lacks the poignancy of past surfer/skateboarder portraits that have shown participants reaching middle age.
    • 69 Metascore
    • 63 Mike Clark
    Pocahontas catching us off-guard with an impromptu cartwheel isn't the knock-you-down brainstorm of Naomi Watts juggling for King Kong, but it's still deliciously inspired. Trouble is, the bit lasts two seconds, while the movie is a long "might have been" that's doomed to be buried in a flurry of strong late-year releases.
    • 58 Metascore
    • 63 Mike Clark
    At least a more satisfying basketball saga than last year's "Coach Carter."
    • 48 Metascore
    • 63 Mike Clark
    Visually impressive but woefully dumbed-down.
    • 75 Metascore
    • 63 Mike Clark
    This being Irving, the story straddles the sweet and the creepy.
    • 49 Metascore
    • 63 Mike Clark
    The beauty here is in the set-up, which offers Hugh Grant a role to match his star-making turn in "Four Weddings and a Funeral."
    • 77 Metascore
    • 63 Mike Clark
    The movie falls short of achieving its apparent goal: being the "Raging Bull" of the art world.
    • 54 Metascore
    • 63 Mike Clark
    Here's Jackie Chan playing twins separated at birth, though not as separated as English is from the actors' lip movements in this silly, speedy, wretched dubbed action goof. [16 April 1999, Life, p.8E]
    • 62 Metascore
    • 63 Mike Clark
    The movie's success with viewers will depend on whether they think Vaughn is funny or tiresome.
    • 57 Metascore
    • 63 Mike Clark
    An unusual walk down the aisle.
    • 50 Metascore
    • 63 Mike Clark
    Worth stumbling into on cable not all that far into next year.