For 981 reviews, this critic has graded:
  • 55% higher than the average critic
  • 3% same as the average critic
  • 42% lower than the average critic
On average, this critic grades 1.7 points higher than other critics. (0-100 point scale)

Mike Clark's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Heat
Lowest review score: 12 Jawbreaker
Score distribution:
981 movie reviews
    • 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.
    • USA Today
    • 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.
    • USA Today
    • 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.
    • USA Today
    • 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]
    • USA Today
    • 31 Metascore
    • 63 Mike Clark
    Slap Happy. [16 February 1996, p.D4]
    • USA Today
    • 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.
    • 43 Metascore
    • 63 Mike Clark
    Older youngsters not threatened by PG-13 levels of intensity might pester Mom and Dad to let them see this cinematic fluff-head. For everyone else, it simply is what it is -- which, despite a budget that could feed Star Wars' Jabba the Hutt for life, isn't very much. [07Feb1997 Pg 04.D]
    • USA Today
    • 53 Metascore
    • 63 Mike Clark
    Though Hour 2's heavy emphasis on physical and emotional confrontations stimulates dramatic momentum, this respectable superstar meeting is finally, of all things, ordinary. [26Mar1997 Pg04.D]
    • USA Today
    • 35 Metascore
    • 63 Mike Clark
    It has been said that no one sees a movie for the sets, yet an exception might be made here for Horizon's visually staggering production design -- truly an event itself. The story, though, is such a transparent variation on the Alien ouevre that your tolerance may hinge on how much you can shrug this off. [15Aug1997 Pg03.D]
    • USA Today
    • 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.
    • 39 Metascore
    • 63 Mike Clark
    Based on a popular children's book by Chris Van Allsburg and directed by that "Honey, I Shrunk the Kids" guy Joe Johnston, Jumanji is a calculated but very entertaining special effects extravaganza. [15Dec1995 Pg. 01.D]
    • USA Today
    • 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.
    • 65 Metascore
    • 63 Mike Clark
    The movie meanders without a rudimentary sense of the dramatic, yet it remains intermittently interesting thanks to a surprisingly voluminous cast of usual suspects from the world of independent cinema. [14 Aug 1996 Pg.09.D]
    • USA Today
    • 56 Metascore
    • 63 Mike Clark
    The middling result, diverting while it lasts but too silly to recommend, is merely this week's funhouse action pic. [21 Jun 1996 Pg.01.D]
    • USA Today
    • 45 Metascore
    • 63 Mike Clark
    So fluidly visual that only a deathbed finale can flag its pace, it's the first Panavision music video to run 21/4 hours, the monotony finally sapping its staying power. [23 Dec 1996 Pg.01.D]
    • USA Today
    • 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."
    • 58 Metascore
    • 63 Mike Clark
    Yet the film's most serious flaw (next to a newly concocted fizz-out ending) is that it's not sinister enough. [30 Jun 1993 Pg. 01.D]
    • USA Today
    • 79 Metascore
    • 63 Mike Clark
    The film does what it can to dramatize the bond, but Richter has a disproportionate acting load because his co-star's emoting is below the water line. Happily, he carries it. [16 Jul 1993 Pg. 08.D]
    • USA Today
    • 78 Metascore
    • 63 Mike Clark
    Crisp craftsmanship has fashioned a great day at the movies from the worst day of Ralph Kramden's life. [10 Jun 1994 Pg. 01.D]
    • USA Today
    • 67 Metascore
    • 63 Mike Clark
    But when material is this fragile, virtually every scene is obligated to click for the result to become something special. Ultimately, this walking and talking comes perilously close to becoming a gab-fest treadmill. [26 Jul 1996, Pg.04.D]
    • USA Today
    • 76 Metascore
    • 63 Mike Clark
    Uneven but also unflaggingly lively, the movie presents F. Murray Abraham as a corseted and bewigged Stalin in expository bits whose broadness recalls the Billy Wilder-scripted Soviet satires ("Ninotchka" and "One, Two, Three") without being as funny. [16 May 1997, Pg.02.D]
    • USA Today
    • 66 Metascore
    • 63 Mike Clark
    Richard LaGravenese's flashback script craftily tones down Waller's wind, adds a germane subplot and strengthens the novella's framing device. [02 Jun 1995, p.D1]
    • USA Today
    • 71 Metascore
    • 63 Mike Clark
    Lee captures the despair, self-delusion, occasional terror and frequent humor of a praised and popular novel, aided by the potent acting his direction virtually guarantees. [13 Sep 1995, p.01.D]
    • USA Today
    • 66 Metascore
    • 63 Mike Clark
    Director Alan Rudolph has certainly done his part, leading a colorful parade of Jazz Age editors, essayists and playwrights in arguably one too many directions - easily surpassing The Moderns, his '20s-expatriate companion piece. [25 Nov 1994, p.4D]
    • USA Today
    • 61 Metascore
    • 63 Mike Clark
    Intelligent but exasperating, its monotonous tone will wear down even viewers who started out in its corner. [27 Dec 1996]
    • USA Today
    • 53 Metascore
    • 63 Mike Clark
    The 15-minute squall is spectacular and the movie's partial redeemer - the minimum you'd hope for in a movie called White Squall, don't you think? [02 Feb 1996]
    • USA Today
    • 55 Metascore
    • 63 Mike Clark
    Valmont, to my surprise, isn't the best movie of Choderlos de Laclos' novel. Blame overripe material, as well as Forman's benign approach to an essentially nasty yarn. [17 Nov 1989]
    • USA Today
    • 53 Metascore
    • 63 Mike Clark
    Frigid soul or not, it's the most unforgettable supernatural comedy since Brazil. Could be it's time for the Coens to drop the pretense, and embrace sci-fi head on. [11 Mar 1994, p.4D]
    • USA Today
    • 67 Metascore
    • 63 Mike Clark
    Naked Lunch is so well-acted and so amusingly warped that it's a shoo-in to become a cult movie. [30 Dec 1991]
    • USA Today
    • 51 Metascore
    • 63 Mike Clark
    John Singleton's bizarre but viewable Boyz N the Hood follow-up is surprisingly gooey going. [23 Jul 1993]
    • USA Today
    • 82 Metascore
    • 63 Mike Clark
    A daring movie in today's current climate - one likely to be remembered at year's end. [18 Oct 1989]
    • USA Today
    • 62 Metascore
    • 63 Mike Clark
    One sits through Ladder halfway engrossed, though always with a sense that its impending punchline will render the preceding an industrial- strength put-on. Then again, there are people out there who thought Ghost was profound. [2 Nov 1990, p.6D]
    • USA Today
    • 73 Metascore
    • 63 Mike Clark
    At its best, the movie is coldly clever with a few brilliant warmer moments - as when someone drops an Alka Seltzer into the tank to soothe the Brain. [14 Dec 1995]
    • USA Today
    • 49 Metascore
    • 63 Mike Clark
    Sharon Stone rides into a Western dust hole bent on revenge. Gene Hackman, virtually reprising his Unforgiven heavy, gives this goofy genre-bender some authenticity. [17 Feb 1995, p.4D]
    • USA Today
    • 66 Metascore
    • 63 Mike Clark
    Oliver Stone's Nixon humanizes a reviled but respected subject for over three hours - dynamically at times, but finally so solemnly that it becomes a grind-you-down dirge. The maker of Natural Born Killers actually concludes with the Mormon Tabernacle Choir singing Shenandoah - without irony. [20 Dec 1995, p.1D]
    • USA Today
    • 71 Metascore
    • 63 Mike Clark
    Despite Thurman's unlikely role, she's rather appealing with De Niro, but the De Niro-Murray chemistry isn't convincing. Murray, a breeze in Groundhog Day, seems tensed up here; the film, long on the shelf and with long-shot cult potential, brings no discredit upon its makers, but no glory either. [5 Mar 1993, p.5D]
    • USA Today
    • 74 Metascore
    • 63 Mike Clark
    Flashily nihilistic Killers is easier to admire than love, but credit Stone for putting it on the line with a yarn tailor-made for his hopped-up vision of media-engendered white-trash immortality. [26 Aug 1994, p.1D]
    • USA Today
    • 58 Metascore
    • 63 Mike Clark
    Disclosure should slickly satisfy people who like movies about advanced computers, topical themes, hardball attorney mind games, office politics, sex and sweet revenge. [9 Dec 1994, p.1D]
    • USA Today
    • 62 Metascore
    • 63 Mike Clark
    Kilmer seems less dangerous than Morrison, but it's a blessing in the most uncompromising bio of a please- don't-move-next-door type since "Raging Bull." [01 Mar 1991]
    • USA Today
    • 49 Metascore
    • 63 Mike Clark
    The old seems old - but the result isn't unpleasant, and moviegoers just might go for it. [22 May 1992]
    • USA Today
    • 75 Metascore
    • 63 Mike Clark
    A fresh-slant Vietnam picture in which lead Tom Cruise achieves indisputable greatness, July is otherwise a "more often than not'' achievement. But though it's as full of itself as Stone's watchably windy Talk Radio, the film's roundhouse punches propel you into remote Mike Tyson-land when they connect. [20 Dec 1989, p.1D]
    • USA Today
    • 70 Metascore
    • 63 Mike Clark
    Lethal Weapon 2 is bang-bang and brain-dead in roughly equal measure. If there's an advantage this time out, it's that the film seems to play the action (and its lead character's psychoses) more for laughs. [7 Jul 1989, p.1D]
    • USA Today
    • 55 Metascore
    • 63 Mike Clark
    Though a tacked-on fisticuffs finale has its charms, it rather contradicts the preceding. Mere subtleties are beyond Stallone and returning Rocky I director John G. Avildsen. [16 Nov 1990, p.4D]
    • USA Today
    • 33 Metascore
    • 63 Mike Clark
    This is an amusing vehicle for Gibson. At least this time, the bird doesn't fall off the wire. [10 Aug 1990]
    • USA Today
    • 56 Metascore
    • 63 Mike Clark
    The Two Jakes turns out to be a surprisingly rich movie - if you're willing to spend 138 minutes on what is essentially a psychological study. [10 Aug 1990]
    • USA Today
    • 72 Metascore
    • 63 Mike Clark
    JFK
    JFK is provocative, a technical primer and an ensemble treat with unusually well- realized star cameos. [20 Dec 1991]
    • USA Today
    • 71 Metascore
    • 63 Mike Clark
    Mike Nichols may never direct another ground-breaking movie, but even with bit performers he is still Mike Midas. Leads and lesser players alike have pointed things to say in this solid, not great, entertainment; if you think this is a movie for you - it probably is. [12 Sep 1990, p.1D]
    • USA Today
    • 66 Metascore
    • 63 Mike Clark
    co-directors Jean-Pierre Jeunet and Marc Caro know their craft; of the films here, only Othello has a more trenchant visual style. [30 Apr 1992]
    • USA Today
    • 62 Metascore
    • 63 Mike Clark
    Until it cools off some with a full half-hour remaining, Tequila Sunrise packs the solar heat the credits and premise promise. Yet a three-quarter success does a good Mel Gibson movie make - even if his co-stars steal it. [2 Dec 1988, p.1D]
    • USA Today
    • 56 Metascore
    • 63 Mike Clark
    Jumbo budget and the same talent notwithstanding, the element of surprise is missing. And ghostbusters, it seems, need that every bit as much as their targets. [16 Jun 1989, p.1D]
    • USA Today
    • 62 Metascore
    • 63 Mike Clark
    The movie has more on its mind than its delicate frame can handle, but Finney remains an actor of importance and prodigious charm. [27 Dec 1994]
    • USA Today
    • 46 Metascore
    • 63 Mike Clark
    Full of love, Spaceballs is full of laughs; after 13 years of screen disappointments, Brooks has almost delivered another Young Frankenstein. May the box office be with it. [24 Jun 1987, p.1D]
    • USA Today
    • 53 Metascore
    • 63 Mike Clark
    Like it or not (it's hard to dislike), it's less a movie than a concept searching for one. [9 Dec 1988, p.6D]
    • USA Today
    • 77 Metascore
    • 63 Mike Clark
    If Hairspray is clean and sweet, don't cry sellout. Taken as a pointed burlesque of a serious racial issue, this is what Spike Lee's School Daze should have been. It's also a PG (for "Pretty Darn Good'') simply on its own.
    • USA Today
    • 68 Metascore
    • 63 Mike Clark
    Though Maclean's bedrock prose is perfection in print, the film may be another case (like actor Redford's "The Great Gatsby") in which text defies translation. [09 Oct 1992]
    • USA Today
    • 50 Metascore
    • 63 Mike Clark
    Despite overlength, this acceptable outing has its moments, most of them in the second half. [17 Nov 1989]
    • USA Today
    • 24 Metascore
    • 63 Mike Clark
    But this isn't Diceman's feat of clay. Instead, Ford Fairlane runs fairly well on high-octane silliness. [11 Jul 1990, p.4D]
    • USA Today
    • 77 Metascore
    • 63 Mike Clark
    Heathers was such a black-comic revelation that Pump Up the Volume comes as a double surprise. What were the odds, particularly this early in his career, that Christian Slater would end up starring in two of the best high school movies ever? [22 Aug 1990, p.4D]
    • USA Today
    • 69 Metascore
    • 63 Mike Clark
    Excesses or not, I'm rabid to see this again. [10 Mar 1989, p.1D]
    • USA Today
    • 46 Metascore
    • 63 Mike Clark
    Kafka is in glorious black and white, except for an extended color sequence near the end that recalls the visual transition in "The Wizard of Oz." The comparison is even more apropos: This middling pigmentary stunt has a lot of smoke and mirrors, a lot of mood, and too much put-on wizardry at its center. [4 Dec. 1991, p.5D]
    • USA Today
    • 43 Metascore
    • 63 Mike Clark
    The starship Enterprise is back, piloted for the first time (from behind the camera, that is) by William Shatner. Though he doesn't exactly parallel-park Star Trek V: The Final Frontier into a meteor, the journey is (at best) an amiably lazy Sunday drive. [9 June 1989, p.4D]
    • USA Today
    • 48 Metascore
    • 63 Mike Clark
    Pro orchestrator that he is, Altman at least gives the illusion of a three-ring circus, but he's working third-rate material without a net. [23 Dec 1994, p.10D]
    • USA Today
    • 65 Metascore
    • 63 Mike Clark
    With danger in every woods, elevator and hospital corridor, Joel Schumacher's by-rote direction will likely give audiences what they want: slick, superficial escapism with casting punch - ironically, virtues associated with the current flop I Love Trouble. To its credit, The Client moves faster and adds suspense, but ultimately seems as negligible. [20 July 1994, p.1D]
    • USA Today
    • 76 Metascore
    • 63 Mike Clark
    With Todd Haynes' direction suggesting a Twilight Zone full court press, this uncommonly rigid movie is either bloodlessly objective or so subtly droll that the joke is beyond comprehension. But given that Haynes previously utilized a cast of Barbie dolls in the brazenly daring Superstar: The Karen Carpenter Story, it's tempting to give him the benefit of the doubt. [21 June 1995, p.7D]
    • USA Today
    • 41 Metascore
    • 63 Mike Clark
    Fans of the stars should be satisfied. Those allergic to car chases, casual killings and the phrase "Oh, s - - -!" may suffer hives. [7 April 1995, p.3D]
    • USA Today
    • 60 Metascore
    • 63 Mike Clark
    Dickerson's direction seems more assured as Juice progresses, but by then, the film has become less a dilemma movie than a melodramatically conventional revenge piece. [17 Jan 1992, p.4D]
    • USA Today

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