For 978 reviews, this critic has graded:
  • 56% higher than the average critic
  • 3% same as the average critic
  • 41% lower than the average critic
On average, this critic grades 1.6 points higher than other critics. (0-100 point scale)

Mike Clark's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 The Straight Story
Lowest review score: 12 Mixed Nuts
Score distribution:
978 movie reviews
    • 47 Metascore
    • 50 Mike Clark
    Pleasant but not more than recycled jock piffle.
    • 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
    • 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.
    • 76 Metascore
    • 50 Mike Clark
    The longer the movie drones on, the queasier it gets. [6 June 1997, Life, p.3D]
    • 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
    • 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.
    • 56 Metascore
    • 50 Mike Clark
    Snipes seems lost. A key player in the novel by virtue of his first-person narration, Snipes' character - now third-person - is all but a non-person. Mostly, he reacts Watson-style to Connery's Sherlock Holmes musings; an attempt to incorporate Snipes' street buddies into a car chase is the film's weakest scene. [30 July 1993, p.1D]
    • 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.
    • 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
    • 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.
    • 35 Metascore
    • 50 Mike Clark
    What do you call a filmmaker who thinks imitating a screen benchmark can make up for emotions that are evading her actors -- Clueless.
    • 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.
    • 58 Metascore
    • 50 Mike Clark
    Buried under an avalanche of action. (1996 June 7, pg. D1)
    • 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
    • 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
    • 47 Metascore
    • 50 Mike Clark
    This family entertainment hard sell lags far behind even "Dr. Dolittle 2."
    • 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.
    • 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
    • 55 Metascore
    • 50 Mike Clark
    Nothing but set pieces, snoozes between its scenes of carnage.
    • USA Today
    • 75 Metascore
    • 50 Mike Clark
    A notably undynamic treatment of Protestant Elizabeth I's ascension to the British throne.
    • 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.
    • 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
    • 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
    • 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.
    • 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
    • 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
    • 23 Metascore
    • 50 Mike Clark
    Anything goes, though director Ronny Yu keeps the idiocy on a fast pace.
    • 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.
    • 48 Metascore
    • 50 Mike Clark
    It's no crime the movie has one or two endings too many, given that many thrillers of the past quarter-century have had the same. But Judd's latest is too harmless to be anything but a misdemeanor.
    • 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

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