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 4.3 points higher than other critics. (0-100 point scale)

Mike Clark's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Do the Right Thing
Lowest review score: 12 Mixed Nuts
Score distribution:
942 movie reviews
    • 66 Metascore
    • 63 Mike Clark
    At 120 minutes, Colors is one of the longest cop dramas in movie history, and all the clichés are packed into the second hour. It fades in the stretch - and so may too many moviegoers. [15 Apr 1988]
    • USA Today
    • 65 Metascore
    • 63 Mike Clark
    Thankfully, this time Eastwood flirts (and ogles) but stops just short of going completely over the top. [19 March 1999, Life, p.13E]
    • USA Today
    • 51 Metascore
    • 63 Mike Clark
    For the first time in years (even counting his excellent work in “Internal Affairs”), Richard Gere's acting gears aren't too obviously apparent; Julia Roberts, though the breadth of her emotional range remains in question, is beautiful and can act - a not-bad blueprint for continued employment. [23 Mar 1990, Life, p.4D]
    • USA Today
    • 71 Metascore
    • 63 Mike Clark
    For all its inconsistencies, this is Smith's most provocative outing yet and certainly the toughest to forget.
    • 51 Metascore
    • 63 Mike Clark
    Capably made and certainly impresses by carrying its length, but it doesn't expand 60 years of World War II screen literature by very much.
    • 70 Metascore
    • 63 Mike Clark
    A few crude verbal exchanges nearly got Clerks an NC-17 rating; some (not all) of these provide some of the funniest moments in a film that's funny about 30% of the time. [24 Oct 1994]
    • USA Today
    • 77 Metascore
    • 63 Mike Clark
    The movie falls short of achieving its apparent goal: being the "Raging Bull" of the art world.
    • USA Today
    • 65 Metascore
    • 63 Mike Clark
    Director David Fincher shovels on more gloom than even the serial killer genre can sustain in the murkily moody, but self-defeating, Seven.
    • 59 Metascore
    • 63 Mike Clark
    Allen's connective scenes are slack and barely functional, and even his asides lack bite.
    • 72 Metascore
    • 63 Mike Clark
    Part of the appeal is the underlying theme of the torch being passed between generations. Think how disappointing it would have been had Dana become an insurance actuary instead of a surfing filmmaker.
    • 78 Metascore
    • 63 Mike Clark
    Things will not be a big concession-stand movie because the floating heart is our introduction to a cottage industry we hope won't catch on. It is dirtier than pretty, yet Frears finds beauty in the telling.
    • 63 Metascore
    • 63 Mike Clark
    With a half-dozen characters sorting out life's woes, the pacing is a couple of beats faster than languorous — just enough to sustain one's interest.
    • 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."
    • 41 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]
    • USA Today
    • 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]
    • USA Today
    • 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]
    • USA Today
    • 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]
    • USA Today
    • 19 Metascore
    • 63 Mike Clark
    8MM
    The two m's in 8MM could stand for "messy melodrama." [26 February 1999, Life, p.5E]
    • USA Today
    • 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.