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 The Last of the Mohicans
Lowest review score: 12 Mixed Nuts
Score distribution:
937 movie reviews
    • 43 Metascore
    • 63 Mike Clark
    Think of a B-grade "Bulworth" with lesser talents than A-listers Warren Beatty and Halle Berry.
    • 31 Metascore
    • 63 Mike Clark
    While compellingly watchable, it's as overheated as Cage-the-actor's 1991 soft-core (and direct-to-video) "Zandalee," also set in New Orleans.
    • 67 Metascore
    • 63 Mike Clark
    Compared with other films Costner has directed, Range isn't a folly like "The Postman," nor is it quite as over-elaborated as "Dances With Wolves."
    • 34 Metascore
    • 63 Mike Clark
    The film never makes total sense, but at its best (the first half-hour), it comes closer to solidly junky titillation than the hapless Final Analysis. [20 Mar 1992, Life, p.1D]
    • 59 Metascore
    • 63 Mike Clark
    Even with Burns' smoothest performance yet as a lead, Confidence is on a level with Steven Soderbergh's blah remake of "Ocean's Eleven." But because no one is expecting much, it seems a little better.
    • 45 Metascore
    • 63 Mike Clark
    Were the material not so thin, it would be even more fun than it is seeing Fiennes get to be loose on screen for once. He's pleasant, but we never feel this guy could get elected. Whenever he smiles, Fiennes brings to mind the title of Disney's deluxe new DVD: "The Complete Goofy."
    • 36 Metascore
    • 63 Mike Clark
    A film dealing fully with Hoffman's final years might have had a lot more punch.
    • 44 Metascore
    • 63 Mike Clark
    The satire is surprisingly tepid.
    • 64 Metascore
    • 63 Mike Clark
    The film has its moments as a mood piece.
    • 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."
    • 59 Metascore
    • 63 Mike Clark
    The movie keeps you watching and, at times, even gripped for more than an hour. But, at the end, it leaves us feeling detached and underwhelmed.
    • 74 Metascore
    • 63 Mike Clark
    If the script were half as witty as its production design and Danny Elfman's score, the film might be a classic; instead, it recalls the “Beetlejuice” half that doesn't have Keaton. [7 Dec 1990, Life, p.4D]
    • 24 Metascore
    • 63 Mike Clark
    If Sandler felt compelled to take on a role immortalized by Gary Cooper, at least it wasn't as "Sergeant York," "Lou Gehrig" or the sheriff in "High Noon."
    • 36 Metascore
    • 63 Mike Clark
    More amusing than a lot of expensive Hollywood comedies [26 February 1999, Life, p.5E]
    • 39 Metascore
    • 63 Mike Clark
    At least this movie has flashes of humor, thought nearly all come courtesy of Newman. [12 February 1999, Life, p.8E]
    • 19 Metascore
    • 63 Mike Clark
    8MM
    The two m's in 8MM could stand for "messy melodrama." [26 February 1999, Life, p.5E]
    • 53 Metascore
    • 63 Mike Clark
    It won't be a waste of time to watch these people — on cable, and probably not too far in the future.
    • 49 Metascore
    • 63 Mike Clark
    Though the plot ends up taking some potentially compelling twists, its telling always feels manipulative.
    • 56 Metascore
    • 63 Mike Clark
    Max
    The movie keeps you mildly interested all the way up to an elaborately staged final scene, yet it might give viewers the same queasy fooling-with-the-Holocaust feeling some felt for Roberto Benigni's "Life Is Beautiful."
    • 79 Metascore
    • 63 Mike Clark
    Amazingly, the film grows monotonous because Heller and Schmiderer can do nothing, via archival footage or even novel camera placements, to vary the program.
    • 42 Metascore
    • 63 Mike Clark
    A lot of this goes down surprisingly well, even if Panettiere, through no fault of her own, is saddled with phony precocious dialogue that makes her sound like an ancient sage.
    • 29 Metascore
    • 63 Mike Clark
    Enough low-grade laughs to entertain significantly more than some of the more prestigious year-end releases.
    • 31 Metascore
    • 63 Mike Clark
    The picture is all Lawrence and Zahn, whose dynamics get something going, though not enough (please!) to spark a buddy sequel.
    • 87 Metascore
    • 63 Mike Clark
    Mothers definitely get their due here: Birth mothers, adoptive mothers and mothers-to-be - with the only men in sight (save for one young fatality and one old eccentric) being those who wear flashy makeup and sport breasts
    • 52 Metascore
    • 63 Mike Clark
    Only a smattering of the potential is realized in this tolerable disappointment, which is so unworthy of getting angry about that it will still become a knee-jerk hit.
    • 42 Metascore
    • 63 Mike Clark
    If anything, Grant seems to be getting funnier, and he now has the ability to elevate material the way another Grant -- Cary -- did.
    • 76 Metascore
    • 63 Mike Clark
    Catch offers mild fun but never as much as its animated '60s-retro opening credits portend. They're the cutest of the year.
    • 52 Metascore
    • 63 Mike Clark
    It's to these Angels' credit that they, like the movie, are at least intermittent fun.
    • 64 Metascore
    • 63 Mike Clark
    The payoff isn't worth the time invested, but at least the actor-turned-filmmaker underplays an inherently queasy project that could have been over the top.
    • 74 Metascore
    • 63 Mike Clark
    Despite dashes of droll dialogue from screenwriter Ted Griffin, the remake aims for cool but instead gets chilly.
    • 53 Metascore
    • 63 Mike Clark
    Within a certain narrow range, Hartnett shows some comic flair -- though not enough to carry the picture over its considerable rough spots.
    • 49 Metascore
    • 63 Mike Clark
    Moviegoers accustomed to Hollywood action probably won't find this contemplative adventure so appealing.
    • 86 Metascore
    • 63 Mike Clark
    More than anything, The Grifters isn't dramatically shot; black-and-white would have made a huge difference. [5 Dec 1990]
    • 46 Metascore
    • 63 Mike Clark
    Marvin leavened his sociopathy with a hint of little boy naivete or innocence -- Gibson is merely a frequently funny thug. {5 February 1999, Life, p. 11E]
    • 57 Metascore
    • 63 Mike Clark
    There's at least one plot element too many here; let your own taste determine which one. Yet until it dissolves into conventional melodrama during a climactic fracas, this fast-paced story is never less than watchable.
    • 45 Metascore
    • 63 Mike Clark
    Whereas last year's exemplary "Sexy Beast" seemed to revitalize the British gangster movie, this equally brutal outing merely sustains it -- though with occasional twists that do linger in the memory.
    • 63 Metascore
    • 63 Mike Clark
    If it's conventional, it's also competent. Thanks to director Charles Stone III (of the famed "Whassuup?!" Budweiser spots), the clichés at least have a good beat.
    • 68 Metascore
    • 63 Mike Clark
    The longer the movie goes, the more its 133 minutes prove wearing. The story tries to develop a love angle between Jackman and Janssen, but it doesn't begin to take. And the finale is particularly weak.
    • 62 Metascore
    • 63 Mike Clark
    Has its moments -- and almost as many subplots.
    • 37 Metascore
    • 63 Mike Clark
    Often livens up stale material with disarming loopiness and zest.
    • 65 Metascore
    • 63 Mike Clark
    Things move fast enough to make it a movie to enjoy and then forget.
    • 60 Metascore
    • 63 Mike Clark
    There's a familiar feeling to the movie even beyond its twinkle-eyed martial arts melees.
    • 48 Metascore
    • 63 Mike Clark
    Except for its muddier than necessary photography, there aren't any surprises, which probably won't matter to the target audience.
    • 54 Metascore
    • 63 Mike Clark
    In lieu of a toga party, one scene treats us to an octogenarian fraternity member wrestling two topless townie lookers slathered in KY Gel. Hey, there's no stopping progress.
    • 90 Metascore
    • 63 Mike Clark
    The story keeps reinventing itself (some of the later plot twists are among the funniest), but a little goes a long way at 112 minutes - maybe 25 minutes more than this sporadically pointed conceit really needs.
    • 77 Metascore
    • 63 Mike Clark
    Look out for everything, and listen, too, because Suspects is one of the most densely plotted mysteries in memory.
    • 66 Metascore
    • 63 Mike Clark
    Passable but never exciting, Heist is on a level with those minor Burt Lancaster action pics the actor's name helped bankroll in the '70s.
    • 83 Metascore
    • 63 Mike Clark
    Even at its best, Adaptation is one of the movie year's most esoteric outings -- more so than even Paul Thomas Anderson's far superior "Punch-drunk Love." Too smart to ignore but a little too smugly superior to like, this could be a movie that ends up slapping its target audience in the face by shooting itself in the foot.
    • 66 Metascore
    • 63 Mike Clark
    It's fun to talk about...but the price you pay is enduring its excesses and pummeled-home thematic points.
    • 73 Metascore
    • 63 Mike Clark
    Even if a lot of adults have problems following this picture 100%, look for computer-savvy teen-agers to guarantee this sometimes original but too often derivative time-killer a shelf life.
    • 66 Metascore
    • 63 Mike Clark
    A half-funny, half-ugly comedy about underworld ineptitude. [5 Mar 1999]
    • 45 Metascore
    • 63 Mike Clark
    What works in a quirky foreign film can look silly with expansive Hollywood treatment. Crowe is smart enough to know this, so it's baffling he chose Vanilla over richer cinematic tastes.
    • 56 Metascore
    • 63 Mike Clark
    Superficially gritty yet soullessly slick melodrama.
    • 74 Metascore
    • 63 Mike Clark
    Kidman gets kudos for giving the enterprise a touch of class, while the film gives the studio's library a rare pedigreed addition.
    • 55 Metascore
    • 63 Mike Clark
    The situations are mighty broad, but exuberance counts for something in the movie with perhaps the year's most double-edged title.
    • 43 Metascore
    • 63 Mike Clark
    Spotty and uneven, Wedding shouldn't even have the embarrassed guffaws it has, and it probably wouldn't were it not for a robust cast.
    • 56 Metascore
    • 63 Mike Clark
    A disciple of David Lynch's, Roth packs his story with horror, humor, hillbillies and sex. Roth caps his fast-moving story with a joke that's as oddly left-field as it is funny, but truth to tell, it is funny.
    • 64 Metascore
    • 63 Mike Clark
    Even when the movie works, it's so much like having Daffy Duck assault your face that you want to buy a box set of elevator music for the calming drive home.
    • 66 Metascore
    • 63 Mike Clark
    Though there must be a dozen U.S. presidents who have never had a documentary made about them, the late Tupac Shakur could rate his own section in video stores, placed between "music" and "action."
    • 60 Metascore
    • 63 Mike Clark
    What the movie can't quite get over, no matter how hard the filmmakers try, is the story's built-in limitations.
    • 64 Metascore
    • 63 Mike Clark
    Peter is as adequate as the Harry Potter movies are, though you never sense in either case that kids are being bitten with the permanent movie-loving bug.
    • 35 Metascore
    • 63 Mike Clark
    The lark-ish Perfect Score is on the high side of the time-killer it sounds like.
    • 62 Metascore
    • 63 Mike Clark
    The problem is the letdown you feel when these glorious morsels (film clips and soundtrack) end, and it's back to three morose schlumps.
    • 60 Metascore
    • 63 Mike Clark
    This is one of those movies in which a strong ending might have made all the difference...But the wrap-up is unsatisfying, with too many questions unanswered.
    • 58 Metascore
    • 63 Mike Clark
    Overall, this Dead is zippier than 1995's retake on "Village of the Damned" and somewhat less junky than the recent remake of "The Texas Chainsaw Massacre."
    • 43 Metascore
    • 63 Mike Clark
    Smith is looking more and more like a developing major talent, so it could be years until we get a handle on this movie's legacy. The film is not only defensible as a cute one-shot, but also as a positive sign for the future.
    • 47 Metascore
    • 63 Mike Clark
    Thornton is excellent and now seems genetically incapable of being anything less than great in any role he takes.
    • 47 Metascore
    • 63 Mike Clark
    Not too many R-rated revenge pics depend on "Uptown Girls'" Dakota Fanning for the stronger scenes. Yet once the 10-year-old star exits the picture, Man on Fire starts blowing a lot of smoke.
    • 46 Metascore
    • 63 Mike Clark
    Designed to be a date movie, Rules could have stronger male appeal than many comedies of its ilk.
    • 42 Metascore
    • 63 Mike Clark
    You feel some of the strain in this immaculately shot, designed and costumed farce, but it's fast and the cast is lively, even though a lost-looking Broderick rarely gets to shoot his patented bewildered look.
    • 53 Metascore
    • 63 Mike Clark
    The movie is so aggressively ingratiating that it's probably not to be fully trusted, yet it works suprisingly well on its own limited terms[14 May 1999, p. 8E]
    • 55 Metascore
    • 63 Mike Clark
    Coach Torn adds to a palpably violent undertone by heaving wrenches at their heads and crotches, making The Three Stooges' poking and slapping look downright tame.
    • 64 Metascore
    • 63 Mike Clark
    There isn't much Napoleonic grandeur in this Idaho-set high school comedy, which in spite of its most condescending instincts, does have its moments.
    • 51 Metascore
    • 63 Mike Clark
    Glorious picture-postcard photography. [10 July 1998, p.8E]
    • 63 Metascore
    • 63 Mike Clark
    Borderline amazing and borderline dull at the same time.
    • 60 Metascore
    • 63 Mike Clark
    This is one of those moderately engrossing movies that seems to collapse all at once during the wrap-up, yet it's well-acted all around.
    • 46 Metascore
    • 63 Mike Clark
    For better or worse, but surely satisfying novelty needs, Jerry Bruckheimer's King Arthur is set much earlier than usual and against the crumbling Roman Empire, which may even (or not) be historically legitimate.
    • 78 Metascore
    • 63 Mike Clark
    [A] socially conscious sprawler... Sayles' latest never bores during its 21/4-hour unreeling. But neither does it soar, despite finessing a complex flashback narrative set in 1957 and present-day. [21 June 1996, p.3D]
    • 47 Metascore
    • 63 Mike Clark
    Untantalizingly reverent remake. [7 December 1998, p.4D]
    • 76 Metascore
    • 63 Mike Clark
    A case of smart and talented people trying to jam a Cold War square into a Gulf War circle. You can feel the chafing, to say nothing of the burden this capably crafted shrug has taken on.
    • 64 Metascore
    • 63 Mike Clark
    The recent model for this kind of surreal jazz-riff comedy is Doug Liman's 1999 "Go," a neo-classic. But you know already from the director (Dude, Where's My Car?'s Danny Leiner) if this movie is for you. Leiner has cornered the recent market on low-rent farces.
    • 74 Metascore
    • 63 Mike Clark
    A promising debut by young writer/director Jacob Estes, this story of a botched revenge plot still isn't likely to break out even in multiplex August dog days.
    • 84 Metascore
    • 63 Mike Clark
    A movie just good enough to keep nurturing rooting interest as you watch it.
    • 61 Metascore
    • 63 Mike Clark
    The casting falters on every level compared with Queens.
    • 68 Metascore
    • 63 Mike Clark
    Has its moments - but far too many of them. It runs two hours and seems to end five times.
    • 55 Metascore
    • 63 Mike Clark
    Linney remains a full-blooded character so memorable that she's worth watching - even in a less-than-memorable movie.
    • 61 Metascore
    • 63 Mike Clark
    Give Anderson credit for at least sustaining a mood. This is the kind of all-or-nothing movie in which a filmmaker probably can't waver from his tone.
    • 49 Metascore
    • 63 Mike Clark
    Though he's highly irresponsible, this Alfie is not quite a calculating heel, which makes the material go down easier while blunting the point.
    • 46 Metascore
    • 63 Mike Clark
    Spacey's brazen casting isn't as beyond the pale as it ought to be. In fact, it's hard to imagine this strange and only occasionally successful movie without him.
    • 59 Metascore
    • 63 Mike Clark
    Compelling and provocative -- though not memorable.
    • 50 Metascore
    • 63 Mike Clark
    Worth stumbling into on cable not all that far into next year.
    • 55 Metascore
    • 63 Mike Clark
    We all know grossly moronic behavior can, in the right situation, generate hearty guilty-pleasure guffaws - at least until overkill wears out the welcome.
    • 62 Metascore
    • 63 Mike Clark
    Tolerance for this movie will likely depend on tolerance for melodramatic, over-the-top finales, especially ones with otherworldly twists.
    • 66 Metascore
    • 63 Mike Clark
    The story doesn't exactly startle with surprises and has a tendency to hammer and rehammer its points.
    • 76 Metascore
    • 63 Mike Clark
    Its premise is so promising that you long for more than Arteta's low-key approach can deliver.
    • 68 Metascore
    • 63 Mike Clark
    The cumbersome wrap-up, which follows a four-year narrative gap, seems too fanciful and bogs down what has been a stronger second hour.
    • 49 Metascore
    • 63 Mike Clark
    It's the kind of material that is either going to make your day or not.
    • 46 Metascore
    • 63 Mike Clark
    Colorful. [1 December 1995, p.D13]
    • 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.