For 942 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 4.2 points higher than other critics. (0-100 point scale)

Mike Clark's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Thirteen
Lowest review score: 12 Mixed Nuts
Score distribution:
942 movie reviews
    • 46 Metascore
    • 50 Mike Clark
    Were some group to launch a rival to the Oscars called The Wackys, it could do worse than make crazed Crazy its first recipient.
    • USA Today
    • 38 Metascore
    • 50 Mike Clark
    Likely one-week box office wonder.
    • 54 Metascore
    • 50 Mike Clark
    There's definitely some paradiso in watching Malena walking, but not enough to sustain almost two hours of cinema.
    • 35 Metascore
    • 50 Mike Clark
    Even at its best, the movie plays like a clip reel.
    • 50 Metascore
    • 50 Mike Clark
    There's nothing super about the movie, aside from a loopiness that affords it a certain guilty-pleasure cachet.
    • USA Today
    • 57 Metascore
    • 50 Mike Clark
    For novelty value, you can do worse than seeing Sean Penn in a rare chance to don evening-wear on screen, but this isn't a sight to sustain a two-hour haul.
    • 43 Metascore
    • 50 Mike Clark
    Tested my own love of the game more than anything since the time Roseanne screeched the national anthem.
    • USA Today
    • 52 Metascore
    • 50 Mike Clark
    Snipes gives a looser, cooler performance this time around, though emotionally, it's closer to dead than undead. Blade II is for the horror faithful only; others will be grasping their crucifixes.
    • 61 Metascore
    • 50 Mike Clark
    This is the kind of movie that has always polarized serious film folk, while the public usually elects to stay home and prune shrubs.
    • 54 Metascore
    • 50 Mike Clark
    Has a three-way split personality, which happily includes an action-packed middle to ease the pain of its early protracted exposition and later action so slow that you'll be asking "Gotta match?" to the person next to you.
    • 50 Metascore
    • 50 Mike Clark
    Though Walt Disney's Peter Pan once implored us never to smile at a crocodile, the Irwins' own home movie is worth a couple of chuckles. Shivers, too.
    • 62 Metascore
    • 50 Mike Clark
    The movie establishes good will (or even great will) in the initial scenes because it's so gorgeous, but the rest is such a slog.
    • 61 Metascore
    • 50 Mike Clark
    Has added virtually nothing to two cinema genres with their own prodigious histories: ensemble and black.
    • USA Today
    • 49 Metascore
    • 50 Mike Clark
    Dull and unpleasant.
    • 47 Metascore
    • 50 Mike Clark
    A comedy without much zing but with an occasional zing-er that enables the film to pick up . . . well, if not nine yards, maybe an inch or two on the gridiron.
    • 65 Metascore
    • 50 Mike Clark
    This is the kind of movie in which even the sex scenes are soulless.
    • USA Today
    • 73 Metascore
    • 50 Mike Clark
    The movie itself IS dull, however. The characters never engage our interest, and the relentless violence grows monotonous.
    • 26 Metascore
    • 50 Mike Clark
    Eventually evolves into a murder mystery that isn't very compelling.
    • 26 Metascore
    • 50 Mike Clark
    It saves its clunkiest scene for the finale. No fair telling, but the key words are "political," "propaganda," "outdoors" and "orphans."
    • 44 Metascore
    • 50 Mike Clark
    It's tough to think of another child-adult pairing in a long screen tradition with so little emotional kick.
    • 45 Metascore
    • 50 Mike Clark
    The sentiments here are thoroughly semper fi, but the result occasionally works at cross-purposes.
    • 42 Metascore
    • 50 Mike Clark
    Drab as it is, the movie is not impossible to endure -- in part because the concept has a timeless appeal.
    • 75 Metascore
    • 50 Mike Clark
    A notably undynamic treatment of Protestant Elizabeth I's ascension to the British throne.
    • 62 Metascore
    • 50 Mike Clark
    Shyamalan's style is so exaggerated, with its long pauses and exacting rhythms of sound- vs.- silence, that it easily can engender eye-rolling and snickers.
    • 57 Metascore
    • 50 Mike Clark
    Almost by himself, Jackson transforms the film's final chapter into a serviceable view -- faint praise, perhaps, but a crumb to savor, given what has come before. [11 June 1999, Life, p. 6E]
    • USA Today
    • 36 Metascore
    • 50 Mike Clark
    Terry Gilliam's “12 Monkeys” can teach The Thirteenth Floor a little something about how to have fun with time travel. And with one number less. [28 May 1999, Life, p.7E]
    • USA Today
    • 45 Metascore
    • 50 Mike Clark
    Mediocre terrorist melodrama turned even punier by real-life events, and that's before we scratch our heads at its lead-actor choice.
    • 37 Metascore
    • 50 Mike Clark
    After "Chocolat" and this, how about a moratorium on candy-centered comedies?
    • 76 Metascore
    • 50 Mike Clark
    The longer the movie drones on, the queasier it gets. [6 June 1997, Life, p.3D]
    • USA Today
    • 55 Metascore
    • 50 Mike Clark
    As this year's literary adaptations go, Horses comes a lot closer to being a truly bad movie than "The Perfect Storm" did, yet it would be hard to argue that the two are not the year's most disappointing in terms of trampled hopes.
    • 56 Metascore
    • 50 Mike Clark
    Disappointing. [6 Mar 1991, Life, p.9D]
    • USA Today
    • 61 Metascore
    • 50 Mike Clark
    The movie isn't without style, but the material can't remotely sustain 100 minutes.
    • 32 Metascore
    • 50 Mike Clark
    So much luck is pressed with an absurdly overblown finale that 60 seconds will likely be Swordfish's shelf life after a couple of noisy opening weekends.
    • 66 Metascore
    • 50 Mike Clark
    It's fun to see somebody revive the amnesia genre - how long has it been? - but the conceit quickly grows irksome. Only Thompson, who manages to be appealing in both of her roles, will likely reap much from this DOA folly. [23 Aug 1991, Life, p.4D]
    • USA Today
    • 67 Metascore
    • 50 Mike Clark
    It's the first film to include both a cameo appearance by Jesus and a full-frontal nude shot of Harvey Keitel dancing in a drugged stupor. [20 Nov 1992, Life, p.4D]
    • USA Today
    • 51 Metascore
    • 50 Mike Clark
    Already too long. It makes you want to start moving globs of dirt to tunnel out of the theater as the movie ends with the famous theme to "The Great Escape."
    • 47 Metascore
    • 50 Mike Clark
    Pleasant but not more than recycled jock piffle.
    • 12 Metascore
    • 50 Mike Clark
    There are laughs here, but easily as many groans.
    • 52 Metascore
    • 50 Mike Clark
    The wrap-up feels tacked-on and too good to be true, with emotions the story really hasn't earned.
    • 37 Metascore
    • 50 Mike Clark
    Truth be told, the movie isn't among the worst sequels of this summer.
    • 40 Metascore
    • 50 Mike Clark
    Action star Chow Yun-Fat's latest is as thin as the buzz cut he sports in Bulletproof Monk.
    • 44 Metascore
    • 50 Mike Clark
    The plunk-ing of a rap/disco soundtrack onto a movie about debtors' prisons and 18th century British highwaymen?
    • 62 Metascore
    • 50 Mike Clark
    One would be hard-pressed to name another submarine movie that lingers so little in the memory two days after seeing it.
    • 27 Metascore
    • 50 Mike Clark
    Hollywood's oddest movie in a while, which means that however insignificant this primer in flight-attendant training is, causing boredom isn't one of its transgressions.
    • 69 Metascore
    • 50 Mike Clark
    Best scenes: Campbell pondering whether to squash her dismembered head in a vice, and a later quandary when he must shotgun his own dismembered hand. Moral: Pimples aren't the worst thing that can happen to your body. [11 Sept 1987, Life, p.3D]
    • USA Today
    • 40 Metascore
    • 50 Mike Clark
    What it isn't ... is a particularly compelling contribution to the impressive and by now enormous collection of Holocaust movies.
    • 42 Metascore
    • 50 Mike Clark
    A minimally tolerable excuse to splice one or two perfunctory scenes between song cues.
    • USA Today
    • 32 Metascore
    • 50 Mike Clark
    This remake is shorter than its predecessors, a welcome earthly reward.
    • USA Today
    • 49 Metascore
    • 50 Mike Clark
    Kapur's stodgy style halts the momentum of young actors who have impressed in other movies.
    • 18 Metascore
    • 50 Mike Clark
    A few chuckles will be had by both the rabble and more learned brains.
    • 20 Metascore
    • 50 Mike Clark
    The movie is so silly I found myself snickering a couple of times, just before slumping down in my seat in mortified embarrassment.
    • 44 Metascore
    • 50 Mike Clark
    Flimsy little comedy unworthy of its portentous title.
    • 37 Metascore
    • 50 Mike Clark
    Though the picture falls apart whenever the two leads aren't on screen together, you can argue that That isn't that inferior to its predecessor.
    • 48 Metascore
    • 50 Mike Clark
    It's reduced to glorified refereeing of family squabbles discomfortingly magnified by his frequent use of close-ups.
    • 68 Metascore
    • 50 Mike Clark
    Heaven is saved only by the power of an occasional hypnotic image.
    • 33 Metascore
    • 50 Mike Clark
    Evil's one strong presence is lead Milla Jovovich -- and not because the script gives her supercop/soldier anything interesting to say.
    • 23 Metascore
    • 50 Mike Clark
    Anything goes, though director Ronny Yu keeps the idiocy on a fast pace.
    • 50 Metascore
    • 50 Mike Clark
    On both technical and conceptual levels, Bamboozled is a movie that will leave Spike Lee fans bewildered.
    • 56 Metascore
    • 50 Mike Clark
    A less-than-middling melodrama whose subject matter and talent never click as much as its credits portend.
    • 46 Metascore
    • 50 Mike Clark
    Tolerably tepid.
    • 39 Metascore
    • 50 Mike Clark
    Has less substance and depth than its title.
    • USA Today
    • 16 Metascore
    • 50 Mike Clark
    Jumps at chance to be silly.
    • 35 Metascore
    • 50 Mike Clark
    Anyone who pays to see it will certainly feel as if he has been clipped.
    • 44 Metascore
    • 50 Mike Clark
    It's an extravaganza worth seeing once -- and maybe later on DVD.
    • 15 Metascore
    • 50 Mike Clark
    This is 90 minutes of gags of the lowest order, yet Poirier occasionally injects them with more energy than anything in "Heartbreakers."
    • 29 Metascore
    • 50 Mike Clark
    No abomination but forgettably mediocre. [19 March 1999, Life, p. 13E]
    • USA Today
    • 71 Metascore
    • 50 Mike Clark
    This Lynch-ian knockoff is moodily monotonal, but the sameness is wearying.
    • 48 Metascore
    • 50 Mike Clark
    Every performer puts vigor into an otherwise limp exercise, as if word were out that this would be the last comedy ever made about late-adolescent concerns.
    • 45 Metascore
    • 50 Mike Clark
    Of course, The Rock looks the part, though with a headband and buckskin, he'd also look like Tonto on steroids.
    • 58 Metascore
    • 50 Mike Clark
    Though this saga would be terrific to read about, it is dicey screen material that only a genius should touch. With no genius in sight, K-19 might be headed for meltdown.
    • 30 Metascore
    • 50 Mike Clark
    If you're going because you want to see an entertaining horror movie, good luck.
    • 43 Metascore
    • 50 Mike Clark
    The result is passably speedy on the level of other TV retreads that seem miscast on the big screen.
    • 45 Metascore
    • 50 Mike Clark
    The latest picture to give you the sense that Hollywood filmmakers simply plucked another old pop-tune title ripe for ripping off, then were shaken by the rude reality of coming up with a script to jerry-build around it.
    • 34 Metascore
    • 50 Mike Clark
    The tepid result is like "Courage Under Fire" without the compelling Meg Ryan angle, or Travolta's 1999 "The General's Daughter" without the sexual squalor. It all feels a little moldy.
    • 47 Metascore
    • 50 Mike Clark
    Somewhere within all of this there really is a homicide -- a hip-hop industry rub-out that may someday make this movie half of a passable DVD double feature with Nick Broomfield's documentary Biggie and Tupac.
    • 47 Metascore
    • 50 Mike Clark
    This family entertainment hard sell lags far behind even "Dr. Dolittle 2."
    • 64 Metascore
    • 50 Mike Clark
    Never enough goodies to keep the two-hour running time from seeming like three.
    • 30 Metascore
    • 50 Mike Clark
    Too distinctive-looking to dismiss out of hand, but it would help to be able to look through a magic viewfinder (or maybe magic eraser) and make its script disappear.
    • 45 Metascore
    • 50 Mike Clark
    By the time you've given up guessing whether S.W.A.T. wants to be a half-serious action pic or just affably jokey, its storytelling has turned so ludicrously melodramatic that it doesn't matter.
    • 57 Metascore
    • 50 Mike Clark
    Hopkins' Hannibal is no longer mysterious, Clarice is no longer vulnerable, and the overextended Florence scenes dash any hopes of early momentum, even if Giancarlo Giannini is perfect as the cop.
    • 43 Metascore
    • 50 Mike Clark
    Superstars usually avoid movies this spiritless, and it's tough to believe anyone could read this script and fail to realize the movie wouldn't end up going anywhere.
    • 27 Metascore
    • 50 Mike Clark
    At least the models' avarice and teasing provide a chuckle or two, as their dates line up panting at the door. Purely by default, their contribution makes this a slightly better working-woman romance than "The Wedding Planner."
    • 68 Metascore
    • 50 Mike Clark
    Do yourself a favor and resist The Italian Job, a lazy and in-name-only remake of 1969's G-rated Michael Caine heist pic.
    • 49 Metascore
    • 50 Mike Clark
    It does survive its 40-minute test drive before turning into a lemon.
    • 35 Metascore
    • 50 Mike Clark
    Plays a little like a pacifistic variation on Bruce Lee's "Enter the Dragon."
    • 28 Metascore
    • 50 Mike Clark
    What do you have to smoke to understand this?
    • 65 Metascore
    • 50 Mike Clark
    Isn't much, it's just lively enough to placate its limited audience to make it an easy choice over "Scooby-Doo's" stale Alpo.
    • 20 Metascore
    • 50 Mike Clark
    Didn't work this time, David. Maybe next season.
    • 51 Metascore
    • 50 Mike Clark
    As spent screen series go, Star Trek: Nemesis is even more suggestive of a 65th class reunion mixer where only eight surviving members show up -- and there's nothing to drink.
    • 58 Metascore
    • 50 Mike Clark
    Hoffman stores the plane fuel in his house and even enjoys sniffing it. The movie might be a lot more fun as a suspense pic were he to take on a roommate who chained-smoked.
    • 38 Metascore
    • 50 Mike Clark
    At least 2 Fast is self-aware enough to know that it's trash, which is worth half a bonus point. Lack of pretension helps the viewer get over the fact that this is just another retread.
    • 54 Metascore
    • 50 Mike Clark
    There's a fine line between darkness and glumness, one that "Spider-Man" bounced off buildings to avoid. The Hulk lumbers across it.
    • 32 Metascore
    • 50 Mike Clark
    De Niro's scowl and Murphy's sass are inherently funny, though in this case both actors are forced to call in moviegoers' long-established goodwill.
    • 66 Metascore
    • 50 Mike Clark
    Begins promisingly and entertains for a stretch because you think it's leading to something more than one of the movie year's flattest conclusions.
    • 71 Metascore
    • 50 Mike Clark
    Glum and preachy.
    • 51 Metascore
    • 50 Mike Clark
    To cut Noe a break, it does become evident that he has a viable narrative concept. Told backward, á la "Memento."
    • 55 Metascore
    • 50 Mike Clark
    Nothing but set pieces, snoozes between its scenes of carnage.
    • USA Today
    • 43 Metascore
    • 50 Mike Clark
    It's asking a lot of audiences to spend nearly two hours with characters as screen-unfriendly as the ones played by Biggs and Ricci, though both actors (and especially Ricci) do what they're asked to do.
    • 43 Metascore
    • 50 Mike Clark
    Becomes a little more compelling as it progresses because Lisa Kudrow (as the straight-arrow first Mrs. Holmes, who halfway stood with him despite her disgust) ends up being surprisingly well cast. She engages in some very un-Friends-like fiery exchanges that also give Kilmer his best scenes.
    • 38 Metascore
    • 50 Mike Clark
    The new version has a few jolts, some occasionally effective smoke-and-mirrors photography and a lead (7th Heaven's Jessica Biel) who could teach a grad course on walking provocatively in blue jeans.
    • 61 Metascore
    • 50 Mike Clark
    Only slightly more slick and slightly less edgy than past John Grisham adaptations.
    • 46 Metascore
    • 50 Mike Clark
    An OK mood piece but story-hungry murder mystery that flubs its whodunit fundamentals.
    • 49 Metascore
    • 50 Mike Clark
    The time might be right for the Scary movies to quit on top, even though, alas, there are no term limits for sequels.
    • 38 Metascore
    • 50 Mike Clark
    The movie gets a mild boost when her escape briefly takes it from just another crummy supernatural thriller into an OK escape melodrama, albeit one dependent on a whopper of an unlikely occurrence.
    • 55 Metascore
    • 50 Mike Clark
    Never recovers from its failure to grip or engage in the early going.
    • 45 Metascore
    • 50 Mike Clark
    For a story that centers on intrigue in high places, the few even halfway-grabbing scenes come from the mild if unexplored sexual tension between co-Caine sleuthers Tilda Swinton and Jeremy Northam.
    • 44 Metascore
    • 50 Mike Clark
    The civilized running time and breezy editing between scattershot plot threads keep the attention in a superficial way, and it would be misstating the case to deny that the movie has some chuckles (the kind that don't linger).
    • 41 Metascore
    • 50 Mike Clark
    The cycle thrills here are everything: flips, collisions, a chase across the top of a fast-moving train and even a zoom down the aisle of one of the train's cars as the passengers take it in stride.
    • 30 Metascore
    • 50 Mike Clark
    Unpleasantness alone doesn't sink a movie. But miserable tidings intensify when there's not only a high ick factor but also floundering storytelling.
    • 38 Metascore
    • 50 Mike Clark
    Sports-satire misfire. [31 July 1998, p. 2E]
    • USA Today
    • 36 Metascore
    • 50 Mike Clark
    Though the movie is more mediocre than abysmal, Ryan's recently banged-up filmography (remember In the Cut) could use what every fighter needs at ringside: a good cut man to stop the bleeding.
    • 33 Metascore
    • 50 Mike Clark
    David Mamet handled such small-town whimsy better in 2000's "State and Main." Hackman could play his role in his sleep, but Romano IS asleep. Result: Welcome to Mildport, and that's being kind.
    • 49 Metascore
    • 50 Mike Clark
    By any reckoning, director Paul McGuigan and writer Mark Mills seem mighty ground down trying to buck these medieval odds.
    • 52 Metascore
    • 50 Mike Clark
    Eastwood gutsily stages the extended opening slowly and methodically... [But u]nintentional yuks litter an otherwise somber political thriller adapted from David Baldacci's novel.
    • USA Today
    • 55 Metascore
    • 50 Mike Clark
    Transforms Charles Dickens into a Chuck. Ground Chuck, unfortunately. [30 January 1998, p. 7D]
    • USA Today
    • 38 Metascore
    • 50 Mike Clark
    Pulpy, fairly speedy but just the same old urban thing by its wrap-up.
    • 56 Metascore
    • 50 Mike Clark
    The movie, which has a rusty photographic veneer, is monotonous and drags toward the end.
    • 52 Metascore
    • 50 Mike Clark
    Predictably, the derivative title here is a jumping-off point for another derivative slasher-revenge pic. [17 October 1997, p.5D]
    • USA Today
    • 44 Metascore
    • 50 Mike Clark
    Though there's something mildly disarming about a movie this unpretentious, a few more like it might end up turning The Rock into a TV actor.
    • 24 Metascore
    • 50 Mike Clark
    Destined to be on DVD by the time 2004 reaches the 50-yard line, Ten is more stale than it is ungodly.
    • 38 Metascore
    • 50 Mike Clark
    With tangy Fisher equaling the leads in a sometimes scene-stealing role as Moore's mom, the actors emerge unscathed. Brosnan's part, in fact, is among the actor's most convincing non-Bond characters.
    • 33 Metascore
    • 50 Mike Clark
    As far as acting goes, neither Olsen is ready for Euripides' Medea, yet each projects well enough in their shared big scene.
    • 38 Metascore
    • 50 Mike Clark
    Almost nothing about Raising Helen rings very true, other than the camera's crush on Kate Hudson.
    • 47 Metascore
    • 50 Mike Clark
    Packed with digs at Bush-Cheney that even Democrats could find heavy-handed, the movie's lumbering approach reminds us that, OK, Emmerich did "Independence Day" -- but also 1998's "Godzilla," which began sinking back into the sea in week two.
    • 65 Metascore
    • 50 Mike Clark
    Victoria Tennant's iciness has been well-utilized on screen occasionally, but not this time. [8 Feb 1991, p.D4]
    • USA Today
    • 49 Metascore
    • 50 Mike Clark
    Just going through the motions here (and mild ones at that), both Chan and the movie should have stayed at home.
    • 47 Metascore
    • 50 Mike Clark
    You don't get the sense that too many enthusiasts are hanging up wanted posters for the ho-hum-ish U.S. Marshals. [6 March 1998, pg. 04.D]
    • USA Today
    • 57 Metascore
    • 50 Mike Clark
    Regrettably, it's the movie version of John Berendt's Midnight in the Garden of Good and Evil, a book still thumping its chest on the hardback best-seller list after more than three years.
    • USA Today
    • 28 Metascore
    • 50 Mike Clark
    This 140-minute I-don't-know-what-it-is unravels like a ball of yarn after a bout with a tiger on Colombian catnip. Lee exhaust me.
    • 40 Metascore
    • 50 Mike Clark
    At least director Dwight Little (Free Willy 2) gives us enough B-movie speed to keep Orchid from becoming a fountain of aging.
    • 47 Metascore
    • 50 Mike Clark
    There has been a need for a big-screen feature about firefighter heroics since Sept. 11, but as drama, Ladder 49 falls short of even the second rung.
    • 37 Metascore
    • 50 Mike Clark
    Hurried, harried. [14 February 1997, pg.D4]
    • USA Today
    • 49 Metascore
    • 50 Mike Clark
    At least the horror premise here has a hook - a house can spread its curse like a plague to adversely affect all who enter.
    • 38 Metascore
    • 50 Mike Clark
    The movie grows progressively more routine in quarter-hour increments, eventually collapsing under the weight of its own insignificance.
    • 66 Metascore
    • 50 Mike Clark
    SpongeBob barely rates as OK when compared with "The Incredibles."
    • 62 Metascore
    • 50 Mike Clark
    Nothing but attitude.
    • 47 Metascore
    • 50 Mike Clark
    There's nothing like dumbing down a movie grown-ups love so it can be "sold" to teens who aren't going to go anyway. The savvy flyer will proceed to the gate marked The "Aviator" instead.
    • 48 Metascore
    • 50 Mike Clark
    Even in the junky potboilers that John Travolta has persisted in making since his "Pulp Fiction" comeback (all 5,000 of them), you usually get the sense that he's acting in his bailiwick.
    • 63 Metascore
    • 50 Mike Clark
    Even if audiences can get by the tasteless shock title, it's tough to figure who will ever watch this movie - even when it's on cable.
    • 47 Metascore
    • 50 Mike Clark
    Top-flight cast.
    • USA Today
    • 70 Metascore
    • 50 Mike Clark
    It's all very slight and only sporadically amusing, and it makes Allen's "Celebrity" from last year look even more underrated than it already is.
    • 29 Metascore
    • 50 Mike Clark
    Far from being a run-of-the-mill slasher pic.
    • USA Today
    • 57 Metascore
    • 50 Mike Clark
    2-1/4 hours of MTV-produced tough love, with a dance break and pool party to relieve -- momentarily -- a series of motivational rants from lead Samuel L. Jackson.
    • 45 Metascore
    • 50 Mike Clark
    The Chamber merits some respect for daring to be gloomy, for facing the capital punishment issue head-on and for the quality of Gene Hackman's performance. [11 October 1996, p.1D]
    • USA Today
    • 30 Metascore
    • 50 Mike Clark
    Low on Diesel fuel, though probably amusing enough if you're part of the intended demographic, which appears to be the age group that likes to stick fingers up noses.
    • 74 Metascore
    • 50 Mike Clark
    True-blue Ford keeps 'Clear' out of danger. [3 August 1994, p.D1]
    • USA Today
    • 47 Metascore
    • 50 Mike Clark
    But Game really isn't a performer's movie. And the climactic contest (in which the Americans amazingly eked out a 1-0 win against England, considered by many to be the world's finest team at the time) is only serviceably staged.
    • 37 Metascore
    • 50 Mike Clark
    At least this movie seems more aware of its trashiness than "National Treasure" was. It's therefore freer to have some off-the-cuff fun the way Steven Seagal's more tolerable vehicles once did.
    • 63 Metascore
    • 50 Mike Clark
    Dramatically, even a persuasive supporting cast gets Heaven only so far.
    • 47 Metascore
    • 50 Mike Clark
    Though not much of a movie, Loaded probably will bring fleeting satisfaction to audiences who don't know Dean Jones from Spike Jones.
    • 65 Metascore
    • 50 Mike Clark
    The material is so solid and Thornton so tailor-made that the movie almost gets by.
    • 53 Metascore
    • 50 Mike Clark
    A little of this will go a long way.
    • 59 Metascore
    • 50 Mike Clark
    Buried under an avalanche of action. (1996 June 7, pg. D1)
    • USA Today
    • 68 Metascore
    • 50 Mike Clark
    Were this movie a naval battle, it would be Lord Nelson vs. Judd Nelson, so decisively do the older actors knock the younger off the screen. [26Dec1997 Pg03.D]
    • USA Today
    • 45 Metascore
    • 50 Mike Clark
    Valiant is voiced by Robots' Ewan McGregor, an actor apparently no longer in a "Trainspotting" mood.
    • 51 Metascore
    • 50 Mike Clark
    Brothers never catches fire the way Gilliam's "The Adventures of Baron Munchausen" did. And you almost feel during subpar special effects that sweaty stagehands are pushing the trees around.
    • 59 Metascore
    • 50 Mike Clark
    Even the nasty zingers here seem tiresomely windy. [16May1997 Pg 02.D]
    • USA Today
    • 45 Metascore
    • 50 Mike Clark
    A blanket indictment like this has to be either satirically trenchant or a roundhouse punch to the gut. Tom Matthews' script takes a mushy middle ground, and the result seems less mad than just a bit addled or hacked off. [07Nov1997 Pg08.D]
    • USA Today
    • 66 Metascore
    • 50 Mike Clark
    But for an epic set up to trace two life stories, there's a lack of dramatic focus, and the leads fail to evince any particular chemistry as friends who come to have a deeper emotional connection. [31Dec1997 Pg.02.D]
    • USA Today
    • 59 Metascore
    • 50 Mike Clark
    A 2 1/2-hour movie with halves that don't quite mesh, it still gives Al Pacino a role that's a perfect fit. [23 Dec 1992 Pg. 01.D]
    • USA Today
    • 45 Metascore
    • 50 Mike Clark
    There will always be an audience for the escapist rewards this type of movie always dangles.
    • 54 Metascore
    • 50 Mike Clark
    A handsome but riotously cluttered melodrama with maybe 145 subplots, it's the latest and least in a soulless string of preordained multiplex hits from the John Grisham warehouse. [24Jul1996 Pg. 10.B]
    • USA Today
    • 47 Metascore
    • 50 Mike Clark
    Stilted film squanders an intriguing premise.
    • 58 Metascore
    • 50 Mike Clark
    Put to the sequel litmus test, queasily spectacular Vengeance would only rate a footnote without a strong original to exploit - or a protracted telephone-terrorist subplot to steal from Dirty Harry 1. [19May1995 Pg.01.D]
    • USA Today
    • 58 Metascore
    • 50 Mike Clark
    Despite haunting moments in this fabricated fling between a headstrong Native American and an English sea captain, the film isn't as chirpy or majestic as recent Disney fare. [16Jun1995 Pg. 01.D]
    • USA Today
    • 58 Metascore
    • 50 Mike Clark
    The First Wives Club has a femme casting coup for the ages, and sometimes it only takes the right performers interacting to give sprightly fluff indispensable showmanship. [20 Sep 1996 Pg.01.D]
    • USA Today
    • 75 Metascore
    • 50 Mike Clark
    Moviegoers of rarefied sensibilities will easily identify this anti-captain-of-industry as a "typical Eric Stoltz role," just as moviegoers of extremely rarefied sensibilities will pick up on Kicking's "typical Chris Eigeman role." [23 Oct 1995, Pg.06.D]
    • USA Today
    • 46 Metascore
    • 50 Mike Clark
    The movie is repetitious in some ways and superficial in others. But though Penn doesn't always seem to know where he's going, his movie doesn't altogether miss its destination. [15 Nov 1995, Pg.05.D]
    • USA Today
    • 22 Metascore
    • 50 Mike Clark
    As in "Arachnophobia", director Frank Marshall can't decide whether he's making a thriller or a laff-it-up lark. [09 Jun 1995, Pg.03.D]
    • USA Today
    • 67 Metascore
    • 50 Mike Clark
    Tim Robbins plays the working dad, and the movie misses him once he bails out early.
    • 53 Metascore
    • 50 Mike Clark
    With heavy HIV subtext and a couple of actors who have scored in other films, this La Bohème spinoff about fatal illness, drug addiction and eviction ought to be less of a slog than it is.
    • 71 Metascore
    • 50 Mike Clark
    It says something that during a scene in which nude chorines are turned into a fleshy backdrop, you spend as much time looking at your watch as what's on screen.
    • 66 Metascore
    • 50 Mike Clark
    Even so, the film's incest theme seems more symbolic than literal in what is, at heart, a comedy about escaping the womb; throwaway gags are wicked enough throughout to keep the taboo plot twist from knocking this hit-and-miss black comedy off the track. [26 Jul 1994 Pg. 08.D]
    • USA Today
    • 34 Metascore
    • 50 Mike Clark
    Give Dozen a slight edge to the mournful "Yours, Mine & Ours" as a holiday season bottom-feeder, because Martin and Levy are better at slapstick than Dennis Quaid.
    • 46 Metascore
    • 50 Mike Clark
    Knoxville is functional only when the movie needs a bravura comic performance, but The Ringer is easy enough to take.
    • 60 Metascore
    • 50 Mike Clark
    After a tense, terrific, stomach-turning opening that may have moviegoing acrophobes recalling Vertigo, the film soon becomes the latest screen variation on cat-and-Mighty Mouse. [28May1993 Pg.04.D]
    • USA Today
    • 84 Metascore
    • 50 Mike Clark
    But the film's emotional core is father-son reconciliation, and Pete Postlethwaite is very sympathetic as Dad. [29 Dec 1993 Pg. 01.D]
    • USA Today
    • 50 Metascore
    • 50 Mike Clark
    Until its dopey coda, the film never all-out stumbles, but always exudes Pakula's trademark chilliness. [17 Dec 1993 Pg. 01.D]
    • USA Today
    • 37 Metascore
    • 50 Mike Clark
    A hopeless if harmless boxing picture whose principals just happen to wear uniforms outside the ring, Annapolis is set in a U.S. Naval Academy where no one ever seems to attend class.
    • 49 Metascore
    • 50 Mike Clark
    A year ago next week, Debra Messing's "The Wedding Date" arrived DOA. And now this. In terms of movies that matter, it looks as if the wedding-funeral motif will continue.
    • 41 Metascore
    • 50 Mike Clark
    Movies of this genre don't often engage fresh concepts, but you have to give Wong major points for dreaming up "tan-line flambé."
    • 60 Metascore
    • 50 Mike Clark
    It isn't an unabashed movie-movie like the chest-thumping "Braveheart" or a cool, clinical semi-documentary like "The Battle of Algiers". There are elements of both here and they just don't dance. [11 Oct 1996, Pg.03.D]
    • USA Today
    • 36 Metascore
    • 50 Mike Clark
    The character played by lead Paul Giamatti is a dead-on Shyamalan protagonist: emotionally distanced and something of a train wreck.
    • 54 Metascore
    • 50 Mike Clark
    Copycat, despite two tough-babe leads to kill for, flies in more directions than scattered kitty litter. [27 Oct 1995, pg.02D]
    • USA Today
    • 78 Metascore
    • 50 Mike Clark
    It's a hoary Chinatown knock-off wrapped in a seductively novel black-culture veneer, with a dash of Laura added for bad measure. [29 Sept 1995, p.01.D]
    • USA Today
    • 63 Metascore
    • 50 Mike Clark
    The flashbacks, functional at best, aren't really the problem. Interminable one-on-one dialogues between the two male leads are. [7 Apr 1995, p.03.D]
    • USA Today
    • 55 Metascore
    • 50 Mike Clark
    Casting, in fact, is Rob Roy's dominant virtue, a hedge against its overlong 2 1/4-hour running time and some initial reluctance to get rolling. [7 Apr 1995, p.01.D]
    • USA Today
    • 71 Metascore
    • 50 Mike Clark
    It's likely to be overrated by some and underrated by others, and both contingents will be wrong. One can't, however, overrate the performances, with auntie ruling the roost in more ways than one. [29 Mar 1996, p.4D]
    • USA Today
    • 66 Metascore
    • 50 Mike Clark
    Jonathan Demme's Philadelphia labors ambitiously on two socially conscious fronts - relating the story of an AIDS-afflicted lawyer while exploring a much broader issue. Unlike almost any other Demme movie - it's a film where you feel the gears struggling to mesh. [22 Dec 1993, p.1D]
    • USA Today
    • 44 Metascore
    • 50 Mike Clark
    Mary Reilly, a perversely courageous disaster that audiences will simply hate. [23 Feb 1996]
    • USA Today
    • 75 Metascore
    • 50 Mike Clark
    Secret isn't the usual romp, but it's Almodovar's most committed work in years. [7 Mar 1996]
    • USA Today
    • 68 Metascore
    • 50 Mike Clark
    The problem here isn't grimness but a failure to make grimness wrench the heart. [18 Oct 1996]
    • USA Today
    • 70 Metascore
    • 50 Mike Clark
    Yet because this adaptation of Franz Lidz's childhood memoir is odd enough and even stylish enough to attract a small following, you might want to weigh my ingrained dyspepsia before electing not to see it. [15 Sep 1995]
    • USA Today
    • 64 Metascore
    • 50 Mike Clark
    Canyon is similarly slick, though even more heavy-handed in hammering home its points. [26 Dec 1991]
    • USA Today
    • 51 Metascore
    • 50 Mike Clark
    It's easier to take Hi-Heel Sneakers by Tommy Tucker- more seriously. [20 Dec 1991]
    • USA Today
    • 73 Metascore
    • 50 Mike Clark
    It isn't really dull (only dulled), and the leads are remarkable; one could, in fact, lavish a lot more praise if this labor of love weren't burdened by the year's dopiest movie wrap-up. [23 Nov 1990]
    • USA Today
    • 43 Metascore
    • 50 Mike Clark
    One hesitates to call David Cronenberg's movie of David Henry Hwang's Tony-winning play conventional or tame, but certainly it is zestless given a filmmaker whose last three outings have been "The Fly," "Dead Ringers" and "Naked Lunch." [01 Oct 1993]
    • USA Today
    • 47 Metascore
    • 50 Mike Clark
    Borderline ponderous in hour one, Wyatt Earp picks up once it reaches Dodge, thanks in part to drolly delivered guffaw lines from sunken-cheeked Dennis Quaid, who lost 43 pounds to play tubercular Doc Holliday. [24 Jun 1994, p.1D]
    • USA Today
    • 68 Metascore
    • 50 Mike Clark
    Poor, no-respect ABBA gets tweaked repeatedly in this unexpectedly handsome widescreen import - though, in keeping with the movie's soft tone, the gooning isn't mean-spirited or even all that catty. [10 Aug 1994]
    • USA Today
    • 65 Metascore
    • 50 Mike Clark
    Both leads and young Harris make Crooklyn an exasperating might-have-been, especially given the movie's surprisingly affecting wrap-up. There's no dearth of human feeling here, but a dearth of craft. [13 May 1994, p.8D]
    • USA Today
    • 44 Metascore
    • 50 Mike Clark
    Spike Lee deserved a vacation after putting himself through the grueling emotions of Clockers, but Girl 6 is too flimsy to excuse even as cinematic R&R. Frenetic but lazily conceived, it's like one of those puny low-budget toss-offs Brian De Palma used to spring on us when he thought nobody was looking. [22 Mar 1996, p.4D]
    • USA Today
    • 45 Metascore
    • 50 Mike Clark
    A rote variation on Mark Twain's The Prince and the Pauper that is marginally salvaged by those spunky Olsen twins from ABC's Full House. [17 Nov 1995]
    • USA Today
    • 51 Metascore
    • 50 Mike Clark
    A few bits are filler, albeit funny filler. But those who would rather laugh than cry at weddings ( will say "I do'' to Bride. [20 Dec 1991, p.1D]
    • USA Today
    • 49 Metascore
    • 50 Mike Clark
    Martin, Keaton and cinematographer William A. Fraker put this retro fluff over better than expected early on, but hour 2 is only for those who don't want their equilibriums rattled by surprises. [8 Dec 1995, p.1D]
    • USA Today
    • 61 Metascore
    • 50 Mike Clark
    Though John Travolta and Christian Slater don boxing gloves to open the dippy but zippy Broken Arrow, the real slugfest in director John Woo's elaborately mounted action pic is between content and style. Call it a draw, and call the movie's content a Speed derivative. [9 Feb 1996, p.1D]
    • USA Today
    • 67 Metascore
    • 50 Mike Clark
    Drollness on screen can sometimes be had cheaply, but a perfect cast is tougher to bankroll. Hal Hartley's new comedy has both - enough to defuse the smugness that seems to linger in its soul. [15 Aug 1991]
    • USA Today
    • 58 Metascore
    • 50 Mike Clark
    There is cinematic art, and there's a good evening out; this is the latter. [15 Mar 1991]
    • USA Today
    • 45 Metascore
    • 50 Mike Clark
    The movie, though, is more of the same: another current comedy with want-to-see elements that fails to deliver the goods. [01 Jul 1992]
    • USA Today
    • 23 Metascore
    • 50 Mike Clark
    Another 48 HRS. doesn't offer a whole lot beyond Eddie Murphy, Nick Nolte, and Walter Hill's action-scene flair, but are you telling me the first 48 HRS. did? Bottom line: Eddie-Nick enthusiasts and Paramount accountants won't cry 96 tears. [8 Jun 1990, p.1D]
    • USA Today
    • 60 Metascore
    • 50 Mike Clark
    This cliche primer is a bit more than bearable - even when it's literally and figuratively off the track. It's no Cocktail, but it's no Dom Perignon, either. [27 Jun 1990, p.1D]
    • USA Today
    • 74 Metascore
    • 50 Mike Clark
    De Niro's widely praised performance is like the rest of the film: competent, a product of hard work and borderline mechanical. I like much of Awakenings, including several supporting performances - but like Big, it left me just a little cold. [20 Dec 1990, p.5D]
    • USA Today
    • 60 Metascore
    • 50 Mike Clark
    A sentimental comedy about mental illness (complete with a sitcom family), wobbly Bob offers further evidence that Disney itself may be afflicted with encroaching schizophrenia. [17 May 1991]
    • USA Today
    • 68 Metascore
    • 50 Mike Clark
    Scoundrels isn't rock-bottom. That a more sturdy vehicle couldn't be found for such stellar leads, though, is a dirty rotten shame. [14 Dec 1988, p. 4D]
    • USA Today
    • 82 Metascore
    • 50 Mike Clark
    The borderline Parenthood is either an iffy comedy with lots of compensations, or a good comedy with more irritating flaws than most movies manage to survive. Whichever, the "feel good'' infantry of summer-film escapists will probably love it. [2 Aug 1989, p.5D]
    • USA Today
    • 60 Metascore
    • 50 Mike Clark
    A faithful, technically brilliant, but also dramatically malnourished film of J.G. Ballard's popular World War II novel. [08 Dec 1987]
    • USA Today
    • 46 Metascore
    • 50 Mike Clark
    Newsies' drag is its predictable script.... It's not a bad hook, but the treatment is uninspired, despite a fairly engaging turn by Bale. [08 Apr 1992]
    • USA Today
    • 46 Metascore
    • 50 Mike Clark
    The result isn't pretentious, but is the tongue-in-cheeking ever slight. The murders are treated as jokes, there's a horror-motif rock video, and Harry dodges enough bullets with Patricia Clarkson to arm Sands of Iwo Jima. [13 Jul 1988, p.1D]
    • USA Today
    • 33 Metascore
    • 50 Mike Clark
    The tone is consistent, but consistently uneventful. [06 May 1994]
    • USA Today
    • 48 Metascore
    • 50 Mike Clark
    Exhale and enjoy Keenen Ivory Wayans' culturally disreputable I'm Gonna Git You Sucka, a sendup of black street comedy that's equally crude, funny - and sentimental. [26 Jan 1989, p.2D]
    • USA Today
    • 63 Metascore
    • 50 Mike Clark
    Director Joel Schumacher, whose pastel color schemes vitalized St. Elmo's Fire, gives this a sensual, at times even erotic, sheen. And a few subplot issues - single motherhood, runaway kids, midlife dating - hint that at least someone involved with this project intended to go after bigger game. [31 Jul 1987, p.4D]
    • USA Today
    • 36 Metascore
    • 50 Mike Clark
    It's all fast and furious up to its draggy finale, and yes, it could spark a sequel. Prepare yourself for coming dread in 18 months: "A Man Together."
    • 52 Metascore
    • 50 Mike Clark
    Peter Pan is the boy who wouldn't grow up, and Hook is the movie that grows unbearable once a grown-up Peter arrives in Neverland with a merciless 90 minutes to go. [11 Dec. 1991, p.1D]
    • USA Today
    • 76 Metascore
    • 50 Mike Clark
    Despite an 87-minute running time, the movie takes a long time to get rolling, and even fellow Leigh enthusiasts may wonder whether the payoff is worth it, though reaction could well divide along sexual lines. [7 Aug 1997, p.3D]
    • USA Today
    • 35 Metascore
    • 50 Mike Clark
    At least Van Damme parodies himself just enough to avoid an all-out battle of the blands . At least director Roland Emmerich slyly allows supermarket Muzak to play during Lundgren's one big emoting scene. [10 July 1992, p.5D]
    • USA Today
    • 51 Metascore
    • 50 Mike Clark
    A John Hughes movie is 15 minutes of material stretched into a 90-minute feature by a rec-room rack from the Karloff estate; the only question is whether the 15 have their comic compensations. Uncle Buck has a few, though they're typically compromised by the cut-and-paste nature of the rest. [16 Aug 1989, p.4D]
    • USA Today
    • 52 Metascore
    • 38 Mike Clark
    One of the most violent opening scenes in screen history…Yet given such a visually adept exercise, the rest seems transparently off-the-cuff. There are obese trailer-camp porn stars, heavenly visions, a climactic rendition of Love Me Tender and no-point references to The Wizard of Oz - all of which top this two-hour farrago like a soggy tarp. [17 Aug 1990, Life, 4D]
    • USA Today
    • 25 Metascore
    • 38 Mike Clark
    Earth to Earth's young director, Mark Piznarksi : It's tough turning straw into gold, isn't it?
    • USA Today
    • 37 Metascore
    • 38 Mike Clark
    Leaves a bad taste, not only because of its bad-luck timing, but also the staleness of its script.
    • 38 Metascore
    • 38 Mike Clark
    Don't put yourself through this hell.
    • 42 Metascore
    • 38 Mike Clark
    Can't stars attract better scripts than this?
    • USA Today
    • 30 Metascore
    • 38 Mike Clark
    One of those movies that goes for a jarringly new emotion every 30 seconds or so while the story's foundation is collapsing.
    • 38 Metascore
    • 38 Mike Clark
    A mongrel of a movie.
    • USA Today
    • 62 Metascore
    • 38 Mike Clark
    Neither the actors nor their characters engender much affection.
    • USA Today
    • 47 Metascore
    • 38 Mike Clark
    Sometimes laughably incoherent.
    • USA Today
    • 53 Metascore
    • 38 Mike Clark
    Begins sinking in the shallow end almost at once.
    • USA Today
    • 37 Metascore
    • 38 Mike Clark
    When movies have degraded to the point that Tyson is acting more than Quentin Tarantino is directing, maybe it is time for an industry shutdown, strike-induced or otherwise.
    • 46 Metascore
    • 38 Mike Clark
    The young Pigeon turks who no doubt think they've made a hip black comedy should be forced to see it in a theater of non-sycophants, where only an occasional exasperated exhale signifies the audience isn't dead yet. [25 Sept 1998]
    • USA Today
    • 31 Metascore
    • 38 Mike Clark
    Life is a crock -- or something like it.
    • 46 Metascore
    • 38 Mike Clark
    This movie is a howler as well -- possibly even intentionally -- but if it is a black comedy, the joke is overextended by far too many arms and legs. [19 March 1999, Life, p. 13E]
    • USA Today
    • 36 Metascore
    • 38 Mike Clark
    Holmes, of Dawson's Creek, will be up the creek if she can't avoid movies like this. And so will you if you see it.
    • 52 Metascore
    • 38 Mike Clark
    Live dies around the time Carpenter allows 10 minutes of gratuitous Piper-David eye-gouging, an apparent bone to wrestling fans. Forget the amusing premise; a full crate of magic glasses couldn't make this a bearable movie. [7 Nov 1988]
    • USA Today
    • 57 Metascore
    • 38 Mike Clark
    The movie runs just 80 minutes, but it's enough time for doldrums to set in when nifty special effects and funny verbal exchanges are out grabbing a smoke. [19 Feb 1993, Life, p.5D]
    • USA Today
    • 33 Metascore
    • 38 Mike Clark
    Don't buy a ticket for this one, even if the theater is having a fire sale on Raisinets.
    • 38 Metascore
    • 38 Mike Clark
    Don't say you weren't warned. There are instant clues that this ill-timed Michael Douglas vehicle is a dually unfortunate viewing experience.
    • 43 Metascore
    • 38 Mike Clark
    Close your eyes during this miserable romantic comedy.
    • 23 Metascore
    • 38 Mike Clark
    Myopic Whitey, continually passed over for a lifetime achievement athletic award, bears a passing resemblance to Columbia's all-time No. 1 animated star, the nearsighted Mr. Magoo. It's nice to think that if he ever went to this movie, he wouldn't be able to see it.
    • 48 Metascore
    • 38 Mike Clark
    xXx
    All you get here for paid admission is a long and terrific avalanche scene -- state of the art, no question. Then it's over and ready to melt away, much like memories of this movie.
    • 34 Metascore
    • 38 Mike Clark
    Clumsy urban thriller.
    • 29 Metascore
    • 38 Mike Clark
    Anyone who sees this movie is going to be 20 minutes ahead of it, though there won't be that many after Weekend 1. With domestic disturbances, someone calls the cops. With this DOA, someone had better call the coroner.
    • 35 Metascore
    • 38 Mike Clark
    I cry for I Spy— or I would if this latest and laziest imaginable of all vintage-TV spinoffs were capable of engendering an emotional response of any kind. Comas are physical, not emotional.
    • 21 Metascore
    • 38 Mike Clark
    Even if this movie wasn't based on a computer game, Starship Troopers' reputation would still have just shot up another 50 notches. [19 March 1999, Life, p.11E]
    • USA Today
    • 23 Metascore
    • 38 Mike Clark
    Burdened with so many poky scenes that it approaches the level of the distributor's "Drowning Mona" and "Whipped," both candidates for the year's worst.
    • USA Today
    • 25 Metascore
    • 38 Mike Clark
    When the most notable thing a film offers is the sight of Dennis Farina in drag, you can't expect much.
    • 35 Metascore
    • 38 Mike Clark
    Goo oozes without mercy in A Walk to Remember.
    • 18 Metascore
    • 38 Mike Clark
    The only thing a movie this unrefined needs is a vaudevillian in baggy pants and someone hawking peanuts in the aisle.
    • 42 Metascore
    • 38 Mike Clark
    Kevin Smith shows up briefly as a lab technician in the miserable Daredevil, and that's a pity. This is a movie that desperately needs the presence of Smith's trademark sidekicks Jay and Silent Bob, with Smith as Bob, ragging worse than ever on his old pal Ben Affleck.
    • 36 Metascore
    • 38 Mike Clark
    Each actor does his own thing for his own audience demographic.
    • 22 Metascore
    • 38 Mike Clark
    OK, Time Warner, a joke is a joke, but the time of tolerance has passed. Get your creatures out of our faces unless you're willing to regale us by afflicting them with Mad Pokémon Disease.
    • 23 Metascore
    • 38 Mike Clark
    Steven Seagal's acting style is so minimal that we can almost believe a script that tells us that his character's near-death experience left him flatlined for 22 minutes.
    • 66 Metascore
    • 38 Mike Clark
    May be a spectacularly awful movie, but it's also spectacularly drenched in color, décor and other visual oh-la-la.
    • 40 Metascore
    • 38 Mike Clark
    There's so little action or suspense that this Cell isn't too likely to multiply itself into a sequel.
    • USA Today
    • 30 Metascore
    • 38 Mike Clark
    You don't envy the three soldiers who get shot for desertion, but you do identify with their desire to flee.
    • 30 Metascore
    • 38 Mike Clark
    The murkiest-looking movie since Ben Affleck's “Daredevil” and about as lacking in charm.
    • 38 Metascore
    • 38 Mike Clark
    Appallingly mean-spirited.
    • 48 Metascore
    • 38 Mike Clark
    There are only so many times you can see a slow-motion kickboxing scene or a figure sail off a skyscraper before you want to spend a nice, cozy evening with the Dead Sea Scrolls.
    • 42 Metascore
    • 38 Mike Clark
    Even the special effects alone aren't worth the price of admission.
    • 53 Metascore
    • 38 Mike Clark
    If Gooding can't get another "Boyz N the Hood" or "Jerry Maguire" soon, his career will need its own cork.
    • 47 Metascore
    • 38 Mike Clark
    This come-down of a series capper is so arch and pompous amid its clanks and collisions that you can only snicker at the verbal wind that obscures the din of marauding machinery.
    • 34 Metascore
    • 38 Mike Clark
    A Disney Thanksgiving movie that plays like a Halloween holdover is odd enough. Even so, it wouldn't be that bad if you stuck your hand into the trick-or-treat bag and found a hefty, succulently dressed and edible turkey instead of the other kind.
    • 37 Metascore
    • 38 Mike Clark
    Hip-hoppish Honey is in the harmlessly junky "let's put on a show" tradition of "Breakin' 2: Electric Boogaloo," minus electricity but with a budget for supporting-cast navel rings that 1984's break-dance sequel certainly didn't have.
    • 39 Metascore
    • 38 Mike Clark
    If you can't find a more scintillating brand of dirty to enjoy during your own nights (Helena or Hoboken), you're not trying very hard.
    • 26 Metascore
    • 38 Mike Clark
    This is by far Kaufman's worst outing since becoming a major filmmaker more than a quarter-century ago, and the fact that his only other stinker from this period is 1993's "Rising Sun" means that maybe he ought to stay away from cop melodramas.
    • 33 Metascore
    • 38 Mike Clark
    A contrived, unpleasant and very drawn-out affair.
    • 35 Metascore
    • 38 Mike Clark
    Waterlogged trip to nowhere. [13 February 1998, p. 3D]
    • USA Today
    • 25 Metascore
    • 38 Mike Clark
    Desperately conceived by even the most insipid standards of contemporary teen-queen cinema, A Cinderella Story operates under a rotting pumpkin of a supposition.
    • 49 Metascore
    • 38 Mike Clark
    Inventing the Abbotts would be a lot more fun were it a trashy Troy Donahue-Diane McBain vehicle ground out by Warner Bros. in 1960, the year this hormonally motivated high school-college romance mercifully concludes. [4 April 1997, p. 4D]
    • USA Today
    • 43 Metascore
    • 38 Mike Clark
    All this dreary movie has is a terrible whodunit payoff.
    • 33 Metascore
    • 38 Mike Clark
    Actor John Corbett, so clean-cut in "My Big Fat Greek Wedding" and "Raising Helen," goes surprisingly scruffy here as someone who apparently studied music under Grizzly Adams.
    • 46 Metascore
    • 38 Mike Clark
    Saw
    Becomes exceedingly disgusting when it wallows in the psychological torture of a child, a no-no under any circumstances.
    • 53 Metascore
    • 38 Mike Clark
    This one's aimed at those airheads who, like George, have been swinging on a grapevine and slamming into too many trees. [16 July 1997, p. 3D]
    • USA Today
    • 39 Metascore
    • 38 Mike Clark
    Ten minutes into the picture, you're searching the screen for life-support machines.
    • 39 Metascore
    • 38 Mike Clark
    A movie that has neither dramatic focus nor a single memorable performance, aside from one or two that are memorable for the wrong reasons?
    • 38 Metascore
    • 38 Mike Clark
    Kris Kristofferson, as a scaled-down old gray mentor to Blade, still looks like the visual equivalent of your five worst college hangovers.
    • 64 Metascore
    • 38 Mike Clark
    Usually, I'm as slow as the pacing of a movie in figuring out who's done it. If you can't solve this mystery with an hour to go (as I did), better call for a transfusion so a better type of blood will start flowing to your brain.
    • 34 Metascore
    • 38 Mike Clark
    A bottom-rung Bette Midler vehicle disguised as a biopic of novelist Jacqueline Susann, the movie is a wannabe satire shackled by misplaced reverence.
    • 43 Metascore
    • 38 Mike Clark
    Almost everyone in this has done better, and those who haven't, like young Ms. Panettiere, have plenty of time to do so.
    • 35 Metascore
    • 38 Mike Clark
    There's not a cliché that isn't nailed.
    • 32 Metascore
    • 38 Mike Clark
    The movie goes wrong from the start.
    • 50 Metascore
    • 38 Mike Clark
    Couldn't be murkier or less emotionally involving if it were "The Matrix 8," a natural observation because Keanu Reeves stars in both.
    • 38 Metascore
    • 38 Mike Clark
    There's sad news to report about The Adventures of Sharkboy and Lavagirl in 3-D: Put on the cardboard glasses, and you can still see the movie.
    • 48 Metascore
    • 38 Mike Clark
    Just about any golden age Hollywood hack could have made a zestier drama about one of the greatest rescue missions in U.S. military history.
    • 33 Metascore
    • 38 Mike Clark
    In Roy Orbison terms, enduring this movie is like working for The Man.
    • 23 Metascore
    • 38 Mike Clark
    The filmmakers, who include the hitherto ace action director Jan De Bont ("Speed", "Twister"), have neither hearts nor minds in gear. [13Jun1997 Pg.04.D]
    • USA Today
    • 36 Metascore
    • 38 Mike Clark
    You can't accuse this film of bogging down in cheap psychology, yet you come out dissatisfied and without a clue about what made this person tick.
    • 40 Metascore
    • 38 Mike Clark
    Whether we're talking this go-round, the original or the second sequel the finale seems to promise, I'd rather try standing drunk on a see-saw (though maybe not over dirty syringes) than see Saw.
    • 47 Metascore
    • 38 Mike Clark
    Michelle Pfeiffer has made a lot of memorable movies, including many that undeservedly failed to connect with the public. Never, until Dangerous Minds, has she had to flail her way through a movie beyond all redemption, including even the prehistoric "Grease 2". [11 Aug 1995, Pg.04.D]
    • USA Today
    • 61 Metascore
    • 38 Mike Clark
    Coy to a fault, the movie collapses under its own weight with 90 minutes to go, despite Robby Muller's impressive black-and-white photography, which puts the film on a higher artistic plane than other equally unbearable movies. [16 May 1996, Pg.06.D]
    • USA Today
    • 40 Metascore
    • 38 Mike Clark
    Clumsy, miscast thriller.
    • 54 Metascore
    • 38 Mike Clark
    There's no substitute for bad taste. And this one has it double-barreled, both in the timing of its release and as a movie, one said to be loosely based on fact.
    • 41 Metascore
    • 38 Mike Clark
    A potential howler done in by a tendency to wear too much body tissue on its sleeve.