For 1,012 reviews, this critic has graded:
  • 55% higher than the average critic
  • 4% same as the average critic
  • 41% lower than the average critic
On average, this critic grades 1.5 points higher than other critics. (0-100 point scale)

Mike Clark's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Titanic
Lowest review score: 12 Falling Down
Score distribution:
1012 movie reviews
    • 81 Metascore
    • 88 Mike Clark
    Here's an ''opened-up'' film of a fragile, sentimental play that doesn't overemphasize every dramatic point, and doesn't tromp on every minefield in the material. [13 Dec 1989, p.1D]
    • USA Today
    • 47 Metascore
    • 50 Mike Clark
    Top-flight cast.
    • USA Today
    • 47 Metascore
    • 38 Mike Clark
    Sometimes laughably incoherent.
    • 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
    • 56 Metascore
    • 75 Mike Clark
    This handsome movie works thanks to its lack of pretension and an atmosphere somewhat akin to the gentle wackiness of director Bill Forsyth's better works.
    • 69 Metascore
    • 75 Mike Clark
    If it's not conventionally speedy, it is almost always gripping.
    • 76 Metascore
    • 75 Mike Clark
    An unusually knowing movie from filmmakers of any age, both in its coldly clinical viewpoint and assured filmmaking style that even puts fresh spin on a routine police interrogation. [26 May 1993, Life, p.8D]
    • USA Today
    • 71 Metascore
    • 75 Mike Clark
    The finale, which utilizes vintage home movies to show us the real people we've just seen portrayed, packs a wallop. [19 February 1999, Life, p.13E]
    • USA Today
    • 35 Metascore
    • 50 Mike Clark
    Plays a little like a pacifistic variation on Bruce Lee's "Enter the Dragon."
    • 66 Metascore
    • 63 Mike Clark
    The story doesn't exactly startle with surprises and has a tendency to hammer and rehammer its points.
    • 67 Metascore
    • 75 Mike Clark
    However flawed, this film proves two things: Davis is still peaking as a lead, and Hanks is in a league with funny male leads of any movie era. [1 July 1992, p.1D]
    • USA Today
    • 48 Metascore
    • 50 Mike Clark
    It's reduced to glorified refereeing of family squabbles discomfortingly magnified by his frequent use of close-ups.
    • 56 Metascore
    • 75 Mike Clark
    As stuffed with beguiling performances - some of them unexpectedly good - as its script is overstuffed. And though even the beguiled may feel manipulated the next morning (or when hitting the exits), the players put it over by a nose. Happy holidays.
    • 58 Metascore
    • 63 Mike Clark
    Seeing this movie won't get you into MIT, but it's passable fun.
    • 74 Metascore
    • 100 Mike Clark
    Black Hawk turns nightmare into great cinema.
    • 78 Metascore
    • 75 Mike Clark
    Clint Eastwood remains a competent, rather than distinctive, film maker, but he obviously respects the material. Bird is essentially factual, and we come to understand why so many other musicians thought shooting heroin might enable them to transfer [Charlie Parker]'s genius to themselves. [26 Sept 1988, p. 4D]
    • USA Today
    • 86 Metascore
    • 100 Mike Clark
    As good as "Unforgiven." Or, to put it another way, as good as any movie Eastwood has ever directed.
    • 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.
    • 61 Metascore
    • 63 Mike Clark
    Because De Niro's performance is aptly ''Scorsese-aggressive'' while Crystal effectively underplays, one can easily sit through this bottom-line disappointment with a smile painted on, waiting for belly laughs that rarely come. [5 Mar 1999]
    • USA Today
    • 60 Metascore
    • 88 Mike Clark
    Filmmakers of Bernardo Bertolucci's magnitude don't often take on sexual coming-of-age movies, but judging from the pleasures of Stealing Beauty, maybe more of them should. [14 Jun 1996 Pg.04.D]
    • USA Today
    • 83 Metascore
    • 88 Mike Clark
    The gritty, Oscar-nominated "Traffic" is a limo ride compared with the bloodletting in this year's foreign-film nominee from Mexico.
    • 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.
    • 86 Metascore
    • 100 Mike Clark
    An instant classic, an Oscar-worthy showcase for Jeremy Irons, and a tightrope ballet over dicey screen material… A subtle movie - and thus a disturbing one. Like “Vertigo,” “The Night of the Hunter,” “Repulsion” and a few others, it finds beauty in morbidity - then nags you to come back for a second dose. [23 Sept 1988]
    • USA Today
    • 24 Metascore
    • 63 Mike Clark
    For such a clumsy and (I'll bet) likely-to-be-panned comedy, Her Alibi has its moments - more, certainly, than its painfully silly trailer suggests. [3 Feb 1989, p.4D]
    • USA Today
    • 38 Metascore
    • 50 Mike Clark
    Pulpy, fairly speedy but just the same old urban thing by its wrap-up.
    • 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
    • 42 Metascore
    • 63 Mike Clark
    If anything, Grant seems to be getting funnier, and he now has the ability to elevate material the way another Grant -- Cary -- did.
    • 68 Metascore
    • 88 Mike Clark
    Blisteringly fast, Bourne also has a strong or striking supporting actor around every corner: Chris Cooper, Brian Cox, Julia Stiles and Clive Owen in roles that range from meaty to amazingly small.
    • 90 Metascore
    • 88 Mike Clark
    This sleek adaptation of James Ellroy's dauntingly complex novel has the black-and-white tabloid soul of an old "Confidential" magazine.
    • 57 Metascore
    • 63 Mike Clark
    An unusual walk down the aisle.
    • 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
    • 52 Metascore
    • 63 Mike Clark
    Only a smattering of the potential is realized in this tolerable disappointment, which is so unworthy of getting angry about that it will still become a knee-jerk hit.
    • 79 Metascore
    • 75 Mike Clark
    In the movie's high point, (Jeremy) Northam conducts an antagonistic interview with the boy, who eludes well-placed lawyerly traps.
    • USA Today
    • 87 Metascore
    • 75 Mike Clark
    Hollywood excelled at this kind of toughie from the mid-'40s through the mid-1950s, and you can see this film's equal every night on a cable movie channel. This summer, however, it's a jewel. [22 July 1992, p.4D]
    • USA Today
    • 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.
    • 62 Metascore
    • 63 Mike Clark
    Has its moments -- and almost as many subplots.
    • 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
    • 12 Metascore
    • 50 Mike Clark
    There are laughs here, but easily as many groans.
    • 70 Metascore
    • 88 Mike Clark
    Damon convincingly matches Williams recrimination for recrimination in this portrayal of mutual tough love, even with the latter giving what may be the best performance of his career.
    • 84 Metascore
    • 75 Mike Clark
    Glossy or not, the movie is unflinchingly tough-minded, down to its Hollywood-weepy ending, which, if you think about it, may be the year's gloomiest.
    • 51 Metascore
    • 75 Mike Clark
    There isn't any kind of dance you can compare to Robert Duvall's latest as an actor/director, though a slo-mo minuet might come close.
    • 73 Metascore
    • 88 Mike Clark
    You get the sense that there's probably more to the story than you get here. But the movie's moral will soon be indelible: You just can't fake it in the Internet age.
    • 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.
    • 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
    • 28 Metascore
    • 25 Mike Clark
    Drawn out and dishonest in equal measure, Sam fights it out with "The Majestic" for the title of worst "important" movie of the year.
    • 54 Metascore
    • 63 Mike Clark
    Here's Jackie Chan playing twins separated at birth, though not as separated as English is from the actors' lip movements in this silly, speedy, wretched dubbed action goof. [16 April 1999, Life, p.8E]
    • USA Today
    • 68 Metascore
    • 63 Mike Clark
    The longer the movie goes, the more its 133 minutes prove wearing. The story tries to develop a love angle between Jackman and Janssen, but it doesn't begin to take. And the finale is particularly weak.
    • 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
    • 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.
    • 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.
    • 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.
    • 89 Metascore
    • 88 Mike Clark
    Romantic comedies with two low-key leads can be asking for trouble, but one senses that the actors must have clicked on some fundamental level.
    • 40 Metascore
    • 50 Mike Clark
    Except for one good recurring gag with a brakeless Cadillac, Fletch Lives is best when it's most offensive. What an unprecedented thing to say about a Chevy Chase movie - but it's true. Compared to much of the rest here, Chase's airplane nose-picking is pretty funny. [17 March 1989, p.4D]
    • USA Today
    • 16 Metascore
    • 25 Mike Clark
    Clean up the language, and this little roach of a movie could play the bottom half of a double bill with Rowan and Martin's “The Maltese Bippy.” [26 March 1999, Life, p.9E]
    • USA Today
    • 44 Metascore
    • 50 Mike Clark
    Mary Reilly, a perversely courageous disaster that audiences will simply hate. [23 Feb 1996]
    • USA Today
    • 69 Metascore
    • 88 Mike Clark
    Bill re-establishes that Tarantino ranks with "Boogie Nights'" Paul Thomas Anderson as one of the few Hollywood filmmakers of the past 25 years with the stuff to win a lifetime achievement award.
    • 65 Metascore
    • 63 Mike Clark
    Nolte has his moments and is the reason to see the film, but he won't quite be the fait accompli shoo-in once Tides' Oscar panhandling begins. [24 Dec 1991, p.1D]
    • USA Today
    • 29 Metascore
    • 50 Mike Clark
    Far from being a run-of-the-mill slasher pic.
    • USA Today
    • 42 Metascore
    • 50 Mike Clark
    If grossness gives you the giggles, at least a couple of the movie's effects indeed put a little "wow" in this cinematic bowwow.
    • 58 Metascore
    • 75 Mike Clark
    The movie is more compelling than exciting with one exception: the kind of rocket blast-off sequence for which IMAX screens were seemingly invented.
    • 80 Metascore
    • 75 Mike Clark
    This crumbled-caper comedy is the funniest movie ever from a film maker late in his eighth decade. [22 July 1988, Life, p.4D]
    • USA Today
    • 60 Metascore
    • 75 Mike Clark
    A minor delight but a delight just the same.
    • 37 Metascore
    • 75 Mike Clark
    An enjoyably cast, superbly shot, jolt-generating device...It isn't art, but it'll crush your bones.
    • USA Today
    • 44 Metascore
    • 50 Mike Clark
    It's an extravaganza worth seeing once -- and maybe later on DVD.
    • 62 Metascore
    • 50 Mike Clark
    Nothing but attitude.
    • 56 Metascore
    • 63 Mike Clark
    Max
    The movie keeps you mildly interested all the way up to an elaborately staged final scene, yet it might give viewers the same queasy fooling-with-the-Holocaust feeling some felt for Roberto Benigni's "Life Is Beautiful."
    • 65 Metascore
    • 50 Mike Clark
    The material is so solid and Thornton so tailor-made that the movie almost gets by.
    • 44 Metascore
    • 50 Mike Clark
    The script is so bereft of real surprises that it's best to keep the lid on what few there are.
    • 90 Metascore
    • 100 Mike Clark
    One of the year's best movies and certainly its most delightful screen surprise.
    • 84 Metascore
    • 88 Mike Clark
    News is right, completely right, until it slips just a bit at the end.By that time it hardly matters because you've seen the best of the holiday films, as well as the most all-around entertaining movie of 1987 - a bittersweet media comedy-drama that surpasses its potential. [16 Dec 1987, p.1D]
    • USA Today
    • 27 Metascore
    • 50 Mike Clark
    If this is Dumas, there's a "b" in the middle and an extra "s" at the end.
    • 93 Metascore
    • 88 Mike Clark
    If Silver is superb, Irons is transcendent. As some forgotten comic once said of George Sanders: A grapefruit wouldn't dare squirt in his eye. [17 Oct 1990]
    • USA Today
    • 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.
    • 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
    • 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.
    • 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.
    • 58 Metascore
    • 75 Mike Clark
    What we're left with is solid if not exceptional, though it's good to see Mendes expanding as a filmmaker.
    • 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
    • 54 Metascore
    • 88 Mike Clark
    As for the breathless 45-minute climax, no screen fantasy adventure in memory can match the showmanship.
    • USA Today
    • 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.
    • 78 Metascore
    • 88 Mike Clark
    Though the comedy is sometimes more frenetic than inspired and viewer emotions are rarely touched to any notable degree, the movie is as visually inventive as its Pixar predecessors.
    • 56 Metascore
    • 12 Mike Clark
    Hopped-up Falling Down is a technically proficient grabber that exploits white-male angst while adeptly juggling two stories filmed in contrasting styles. Slick, maybe facile, and with a nasty streak, it is nonetheless 1993's first consistently engrossing movie. [26 Feb 1993, 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
    • 88 Metascore
    • 88 Mike Clark
    Sweet (maybe) - but also painful (for sure). So painful that it's initially easy to resist this slice-of-Middlesex-life from Brit director Mike Leigh. Yet gradually, a mom, a dad and late-teen twins prove overwhelmingly winning through sheer willpower. Theirs, and the willpower of an idiosyncratic filmmaker who loves his characters no matter what. [24 Dec. 1991, p.4D]
    • USA Today
    • 83 Metascore
    • 88 Mike Clark
    Welcome to the Dollhouse does, with accessible dark comedy and chilling honesty, reminding us right off that school-cafeteria agonies only begin with the cuisine. [24 May 1996 Pg.04.D]
    • USA Today
    • 73 Metascore
    • 100 Mike Clark
    Though his film is like no other baseball movie, it may remind you of Paul Newman's hockey comedy Slap Shot: a knowing look at sport's underbelly - punctuated by jelly-belly laughs. [15 June 1988]
    • USA Today
    • 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.
    • 55 Metascore
    • 75 Mike Clark
    This movie will remind a lot of people of John Ford's masterpiece, "The Searchers," without the rowdy humor and, yes, without the greatness. But it's an admirably solid effort that's as mean as it has to be, which is plenty.
    • 59 Metascore
    • 88 Mike Clark
    A rousing state-of-the-art cartoon capped by an aerial-combat climax that, to its credit, isn't anti-climactic. [2 July 1996, p.D1]
    • USA Today
    • 56 Metascore
    • 75 Mike Clark
    A two hour aquatic pursuit pic with bruising stunts, fun-to-watch performances, a dozen good chortles and imposing Panavision renderings of post-apocalyptic crud, Waterworld clearly has the makings of a cult movie.
    • 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.
    • 79 Metascore
    • 88 Mike Clark
    Majidi tells his simple story with dazzling vision.
    • 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.
    • 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
    • 39 Metascore
    • 50 Mike Clark
    Has less substance and depth than its title.
    • USA Today
    • 70 Metascore
    • 75 Mike Clark
    This may be the most uncompromisingly raw police drama since "Across 110th Street," starring Anthony Quinn and Yaphet Kotto.
    • 87 Metascore
    • 100 Mike Clark
    Though the movie may not change many minds about McNamara, it richly humanizes him, a valuable feat atop all the fascinating reflection.
    • 79 Metascore
    • 88 Mike Clark
    Linney is a match for Neeson, and the only thing that might keep Lithgow from getting a supporting-Oscar nomination is the brevity of the part.
    • 74 Metascore
    • 50 Mike Clark
    True-blue Ford keeps 'Clear' out of danger. [3 August 1994, p.D1]
    • USA Today
    • 66 Metascore
    • 63 Mike Clark
    Neither Price nor director Harold Becker can decide whether they're after a conventional mystery or a trenchant sexual-psychological study a la Last Tango in Paris. Like so many current movies, Love falters in the pay-off; despite lots of bull's-eye moments in the early going, it seems vaguely silly. [15 Sep 1989, p.4D]
    • USA Today
    • 60 Metascore
    • 88 Mike Clark
    This is the most enjoyable film of its type in recent memory.
    • 35 Metascore
    • 63 Mike Clark
    The lark-ish Perfect Score is on the high side of the time-killer it sounds like.
    • 68 Metascore
    • 88 Mike Clark
    This is a very funny picture, though it's never burlesqued and is, in fact, occasionally poignant.
    • 64 Metascore
    • 75 Mike Clark
    Easy to tumble for. [9 February 1996, p.D4]
    • USA Today
    • 49 Metascore
    • 63 Mike Clark
    Moviegoers accustomed to Hollywood action probably won't find this contemplative adventure so appealing.
    • 62 Metascore
    • 75 Mike Clark
    While this movie is sometimes overbaked, it is the first major studio release in a while to engross wall-to-wall.
    • 71 Metascore
    • 75 Mike Clark
    Beguiling Victoriana. [18 July 1997, p.4D]
    • USA Today
    • 69 Metascore
    • 63 Mike Clark
    Jewel is more like an acting zircon because she just can't project, but at least she looks the part, and her novelty value isn't unwelcome.
    • 76 Metascore
    • 88 Mike Clark
    In a watershed year for black filmmakers, Singleton has made the punchiest feature debut in recent memory. Those who complain that Lee's characters tangle up his plots will savor Singleton's flawlessly crafted edges. [12 July 1991]
    • USA Today
    • 63 Metascore
    • 75 Mike Clark
    Even without the surprise of seeing Spader going for laughs and getting them, Secretary is just too original to be ignored.
    • 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
    • 25 Metascore
    • 38 Mike Clark
    Ed
    Put an infinite number of monkeys in front of an infinite number of word processors, and one of them may indeed write War and Peace, as the old theory goes. But more likely, they'll come up with something like David Mickey Evans' screenplay for Ed. [15 Mar 1996, p.5D]
    • USA Today
    • 9 Metascore
    • 25 Mike Clark
    Here's a late-August dog-days atrocity from the "aren't farts funny?" school of filmmaking.
    • 37 Metascore
    • 50 Mike Clark
    After "Chocolat" and this, how about a moratorium on candy-centered comedies?
    • 52 Metascore
    • 63 Mike Clark
    It's to these Angels' credit that they, like the movie, are at least intermittent fun.
    • 86 Metascore
    • 88 Mike Clark
    Not since Tuesday Weld in "Pretty Poison" has an actress so played off her fresh-faced beauty for such pointed black-comic effect.
    • 58 Metascore
    • 75 Mike Clark
    A movie of moments whose ultimate legacy may be to get Carrey out of formula comedies forever.
    • 86 Metascore
    • 88 Mike Clark
    A weeper poised to endure as one of the dominant independent features of the year.
    • USA Today
    • 43 Metascore
    • 25 Mike Clark
    Murky, pretentious and torturously inert.
    • USA Today
    • 34 Metascore
    • 25 Mike Clark
    A little soon for any movie this millennium to reunite overacting Matthew Lillard, underacting Freddie Prinze Jr., feigning mousy Linda Cardellini and the more obviously lip-glossy Sarah Michelle Gellar.
    • 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
    • 41 Metascore
    • 38 Mike Clark
    A potential howler done in by a tendency to wear too much body tissue on its sleeve.
    • 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
    • 58 Metascore
    • 75 Mike Clark
    For much of its length, the premise seems less wilted than you'd guess. This is because, for one thing, Mendes gives as good as she gets.
    • 58 Metascore
    • 63 Mike Clark
    Until its roaring-semis climax, there is no genuine excitement here. Only 133 characteristically overlong minutes of painlessly watchable bubble bath. [14 July 1989, p.1D]
    • USA Today
    • 49 Metascore
    • 75 Mike Clark
    Preposterous yet solidly entertaining.
    • 86 Metascore
    • 88 Mike Clark
    Twenty years ago, you could view early works of big-splash directors and often tell where they were coming from - or going. Yet Soderbergh and his debut project are mysteries. What can possibly come next? You won't be able to drag me out of line opening night. [4 Aug 1989, Life, p.1D]
    • USA Today
    • 49 Metascore
    • 50 Mike Clark
    Kapur's stodgy style halts the momentum of young actors who have impressed in other movies.
    • 45 Metascore
    • 75 Mike Clark
    Two films in one: an intriguing child-disappearance mystery and an uncommonly affecting domestic drama realized by four terrific central performances.
    • USA Today
    • 56 Metascore
    • 100 Mike Clark
    It's slick, melodramatic, even inherently trashy - but a blue-chip moviegoer investment. [11 Dec 1987, p.1D]
    • USA Today
    • 74 Metascore
    • 75 Mike Clark
    The distanced result, screen-adapted by playwright Christopher Hampton, never quite overwhelms you. [21 Dec 1988, Life, p.1D]
    • USA Today
    • 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.
    • 76 Metascore
    • 88 Mike Clark
    Both the material and the way it's delivered by the movie's comic quartet are so funny.
    • 58 Metascore
    • 75 Mike Clark
    Grimly claustrophobic movies can make viewers put up a shield, yet Tim Blake Nelson (who directed O) invests this unusual Holocaust drama with dramatic intensity that in no way cheapens its subject matter.
    • 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.
    • 47 Metascore
    • 75 Mike Clark
    A mildly satirical but essentially sweet, benign comedy.
    • 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
    • 49 Metascore
    • 50 Mike Clark
    Dull and unpleasant.
    • 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
    • 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
    • 54 Metascore
    • 63 Mike Clark
    Fans, at least, should enjoy the realistic touches. The cast is full of real players, announcer Dick Vitale is obnoxious here, too, and that's really coach Bobby Knight in the big game vs. Indiana (though his tan betrays Chips' summer filming schedule). And though O'Neal can barely grunt dialogue, it's fun to watch the Orlando Magic superstar make Nolte look like David Cassidy whenever they share a frame. [18 Feb 1994, p.5D]
    • USA Today
    • 66 Metascore
    • 63 Mike Clark
    A half-funny, half-ugly comedy about underworld ineptitude. [5 Mar 1999]
    • USA Today
    • 38 Metascore
    • 50 Mike Clark
    Likely one-week box office wonder.
    • 71 Metascore
    • 50 Mike Clark
    Glum and preachy.
    • 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.
    • 47 Metascore
    • 50 Mike Clark
    One thrilling shot of land's discovery - so good it's reprised at the end - hints at what might have been. But despite production values that advertise a first-class journey, 1492 is a long haul in steerage. [09 Oct 1992, p.8D]
    • 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
    • 20 Metascore
    • 25 Mike Clark
    Icky and incompetent (special effects aside) in equal parts, this groaner makes 1994's "The Mask" look like something you'd study in a film graduate course at NYU.
    • 71 Metascore
    • 75 Mike Clark
    This movie doesn't make you think you are watching art. It's closer to a high-end TV movie with lots of familiar faces.
    • 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
    • 70 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
    • 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.
    • 84 Metascore
    • 88 Mike Clark
    This thorough original is a wall-to-wall exercise in gallows humor, a movie whose full funny/sad effect doesn't hit until you reflect upon the subject and the cast of characters.
    • USA Today
    • 86 Metascore
    • 100 Mike Clark
    Joins company with "Sullivan's Travels" and "Sunset Boulevard" as the quintessential Hollywood peek-a-boos...[and] Tim Robbins' modulated performance rates rhapsodic praise. [10 Apr 1992]
    • USA Today
    • 28 Metascore
    • 50 Mike Clark
    What do you have to smoke to understand this?
    • 66 Metascore
    • 75 Mike Clark
    As easy to enjoy as picking up a spare, and we don't mean a tire around the waist.
    • 59 Metascore
    • 50 Mike Clark
    Even the nasty zingers here seem tiresomely windy. [16May1997 Pg 02.D]
    • USA Today
    • 59 Metascore
    • 63 Mike Clark
    A few mildly crude gags help PG-Jam avoid the dreaded G-rating, but this is a kids' pic all the way. Even at its least inspired, it reduces next week's video release of Shaquille O'Neal's Kazaam to even more of a non-event than it was. [15 Nov 1996, p.1D]
    • USA Today
    • 14 Metascore
    • 12 Mike Clark
    With its long takes and a talky script involving an influx of revolving-door eccentrics, Nuts has the feel of a badly filmed play - akin to, say, any 12 of the worst Neil Simon screen adaptations. [21 Dec 1994, p.6D]
    • USA Today
    • 53 Metascore
    • 63 Mike Clark
    Within a certain narrow range, Hartnett shows some comic flair -- though not enough to carry the picture over its considerable rough spots.
    • 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
    • 37 Metascore
    • 38 Mike Clark
    Leaves a bad taste, not only because of its bad-luck timing, but also the staleness of its script.
    • 78 Metascore
    • 88 Mike Clark
    With his coolly objective moon's-eye view serving a story that's bizarre by even his long-established career standards, the great documentarian Errol Morris examines the perils of vanity - though others will understandably make more sinister interpretations.
    • 81 Metascore
    • 88 Mike Clark
    One of the most challenging movies in years.
    • 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.
    • 33 Metascore
    • 75 Mike Clark
    Trashy and disturbingly violent yet fairly zippy and amusingly cast.
    • 76 Metascore
    • 88 Mike Clark
    A long movie that almost wears out its 21/4-hour welcome, yet it's full of surprises.
    • 80 Metascore
    • 100 Mike Clark
    A masterpiece. (9 Jan 1998, p.3D)
    • USA Today
    • 76 Metascore
    • 88 Mike Clark
    This is one of the best re-creations ever of the early-'50s Midwest. [11 Sept 1987, Life, p.3D]
    • USA Today
    • 70 Metascore
    • 88 Mike Clark
    So original that it'll be years before a major filmmaker attempts another one. We're talking black-belt cult-movie status here. [30 Mar 1988]
    • USA Today
    • 20 Metascore
    • 50 Mike Clark
    Didn't work this time, David. Maybe next season.
    • 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?"
    • 58 Metascore
    • 75 Mike Clark
    The star interplay and anachronisms recapture some of the surreal spirit of the Crosby-Hope Road movies, and the end-credit outtakes are funny enough to sustain that getting-hoary device for at least one more picture.
    • 66 Metascore
    • 63 Mike Clark
    It's fun to talk about...but the price you pay is enduring its excesses and pummeled-home thematic points.
    • 78 Metascore
    • 75 Mike Clark
    As inspiring as the story wants to be, its real drama is mired around the edges, where we get a sense of what it is really like to be born into a brothel.
    • 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.
    • 77 Metascore
    • 88 Mike Clark
    An emotionally honest low-ebber that builds to a satisfying wrap-up.
    • 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.
    • 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.
    • 61 Metascore
    • 75 Mike Clark
    City loses some bearings in its second half, becoming a ragged collection of punchy action scenes. Big deal. It's also one of the most enjoyably ragged examples of fuzz vs. scuz since 1972's Across 110th Street. [8 Mar 1991, p.2D]
    • USA Today
    • 45 Metascore
    • 63 Mike Clark
    Whereas last year's exemplary "Sexy Beast" seemed to revitalize the British gangster movie, this equally brutal outing merely sustains it -- though with occasional twists that do linger in the memory.
    • 68 Metascore
    • 100 Mike Clark
    Tempers moments of despair with deliriously romantic passages abetted by James Horner's traditionally lush score and photography by John Toll ("Legends of the Fall's" Oscar winner).
    • 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
    • 80 Metascore
    • 88 Mike Clark
    A robustly imaginative sleeper
    • 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."
    • 89 Metascore
    • 75 Mike Clark
    Though no film for the ages, it's two grown-up hours to tickle clear, sharp, minds. [27 Jan 1995, p.4D]
    • USA Today
    • 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.
    • 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.
    • 53 Metascore
    • 50 Mike Clark
    A little of this will go a long way.
    • 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
    • 61 Metascore
    • 63 Mike Clark
    The casting falters on every level compared with Queens.
    • 76 Metascore
    • 75 Mike Clark
    The film is, however, almost inevitably wistful for the past, and many of its emotional touches come from juxtaposed then-and-now footage of the participants.
    • 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
    • 45 Metascore
    • 25 Mike Clark
    Why would a distributor suddenly yank an animated family film from its intended wide December opening until mid-January? Could it be that the advance word of mouth wasn't very good-winked?
    • 67 Metascore
    • 75 Mike Clark
    Once this 2 1/4-hour slow-starter finally finds its rhythm, we're reminded of how gripping policy give-and-take around a long rectangular table can be.
    • 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
    • 72 Metascore
    • 75 Mike Clark
    Even when there are lulls, the emotions seem authentic.
    • 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
    • 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.
    • 91 Metascore
    • 100 Mike Clark
    Still mesmerizes on the strength of George C. Scott's chew-your-behind performance. [5 Nov. 1999, p.6E]
    • USA Today
    • 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.
    • 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.
    • 35 Metascore
    • 50 Mike Clark
    Even at its best, the movie plays like a clip reel.
    • 65 Metascore
    • 88 Mike Clark
    The movie grows on you, lingers in the mind and may pick up a cult. Take away Heat and Dust, Howards End and The Remains of the Day, and it's as satisfying as any movie the filmmaking team's ever made. [18 Sep 1998, Pg.03.E]
    • USA Today
    • 62 Metascore
    • 75 Mike Clark
    If you end up cursing, try not to forget The Abyss' spectacular oil-rig collapse, a killer chase scene, two fine leads, and one Oscar-worthy "creature'' special effect midway through. Do forget the rest - unless you really dig Casper, the Friendly Ghost. [9 Aug 1989, Life, p.1D]
    • USA Today
    • 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.
    • 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.
    • 57 Metascore
    • 88 Mike Clark
    Though the music is helping market the movie, it's really an omnipresent backdrop to the two intersecting stories. Audibly and visibly, Kansas City nearly equals Ed Wood for period verisimilitude. Yet it's also character-driven, in particular by the women stars. [16 Aug 1996, p.4D]
    • USA Today
    • 33 Metascore
    • 25 Mike Clark
    The only good thing about Impostor is the appropriateness of its title for a film posing as the first 2002 release.
    • 22 Metascore
    • 50 Mike Clark
    It's just too soon after those silly talking dinosaurs to put up with any movie about a talking horse.
    • 62 Metascore
    • 63 Mike Clark
    Intelligent but not particularly involving.
    • 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
    • 55 Metascore
    • 75 Mike Clark
    Worth a look. It's easy to overrate -- but just as easy to undervalue.
    • 38 Metascore
    • 25 Mike Clark
    The trouble with indulging Taking Lives is that it's taking your time.
    • 55 Metascore
    • 50 Mike Clark
    Transforms Charles Dickens into a Chuck. Ground Chuck, unfortunately. [30 January 1998, p. 7D]
    • 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."
    • 70 Metascore
    • 88 Mike Clark
    Though Roger & Me's editing plays somewhat fast and loose with the juxtaposition of real-life events, it qualifies as an event itself. For once, have-nots get to lambaste haves in a documentary likely to be seen. [20 Dec 1989, p.5D]
    • USA Today
    • 74 Metascore
    • 100 Mike Clark
    Tightly constructed and controlled.
    • USA Today
    • 56 Metascore
    • 50 Mike Clark
    The movie, which has a rusty photographic veneer, is monotonous and drags toward the end.
    • 43 Metascore
    • 38 Mike Clark
    All this dreary movie has is a terrible whodunit payoff.
    • 35 Metascore
    • 25 Mike Clark
    There's nothing sleazier than sleaze that fails to titillate, and this drab blight on a hot cast is as sleazy as a preordained hit ever gets. [07 Apr 1993 Pg. 08.D]
    • 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
    • 55 Metascore
    • 88 Mike Clark
    An easy movie to pick apart, but it lives, breathes and switches moods from humor to despair better than any American release this year.
    • 50 Metascore
    • 63 Mike Clark
    Cadillac Man has a shabby transmission, but a decent wax job - or maybe it's the other way around. In any event, it's a vaguely amiss near-miss, despite the inspired teaming of Robin Williams and Tim Robbins. [18 May 1990, p.4D]
    • USA Today
    • 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).
    • 76 Metascore
    • 75 Mike Clark
    Bottom-line funny, often convulsively so. [2 Dec 1988]
    • USA Today
    • 93 Metascore
    • 100 Mike Clark
    With flawless precision, the movie flows seamlessly between a virtual newsreel approach (to chronicle senseless, arbitrary atrocities on the people) and a slightly more direct narrative technique that characterized the film's three dominant characters - each one cast to perfection. [15 Dec 1993]
    • USA Today
    • 64 Metascore
    • 63 Mike Clark
    Peter is as adequate as the Harry Potter movies are, though you never sense in either case that kids are being bitten with the permanent movie-loving bug.
    • 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.
    • 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
    • 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.
    • 71 Metascore
    • 75 Mike Clark
    The movie wouldn't be imaginable without its commanding star. Nicholson is in virtually every scene underplaying to great effect
    • USA Today
    • 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."
    • 46 Metascore
    • 50 Mike Clark
    Overproduced and essentially charmless.
    • 48 Metascore
    • 38 Mike Clark
    Timecop's conversation piece is the scene in which Van Damme springs into the air amid hand-to-hand combat, finessing a perfect split atop his kitchen counter. Though definitely ooo-and-aaah stuff, it falls short of landing Timecop the 3-star review earned here by Van Damme's Hard Target. [16 Sep 1994, p.5D]
    • USA Today
    • 67 Metascore
    • 88 Mike Clark
    The picture is solidly crafted, performed to the hilt and full of humor.
    • 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
    • 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.
    • 66 Metascore
    • 75 Mike Clark
    Gives Dennis Quaid one of his best screen showcases.
    • 62 Metascore
    • 75 Mike Clark
    Sky High gets Kurt Russell back to his retro Disney roots, and he's still in good enough shape at age 54 to wear a supernatural hunk's cape.
    • 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."
    • 45 Metascore
    • 63 Mike Clark
    What works in a quirky foreign film can look silly with expansive Hollywood treatment. Crowe is smart enough to know this, so it's baffling he chose Vanilla over richer cinematic tastes.
    • 69 Metascore
    • 88 Mike Clark
    So with its smart writing delivered by an in-synch quartet, savor Duplicity as the ideal spring gift.
    • 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.
    • 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
    • 90 Metascore
    • 100 Mike Clark
    Produced by HBO but too good not to play theaters, this soon-to-be minor classic is the best movie about society's untrendiest since "Ghost World" exactly two years ago.
    • 72 Metascore
    • 100 Mike Clark
    It's hard to recall the last movie that has left such an emotionally searing question dangling in the mind: "What if ... ?"
    • 86 Metascore
    • 63 Mike Clark
    More than anything, The Grifters isn't dramatically shot; black-and-white would have made a huge difference. [5 Dec 1990]
    • USA Today
    • 30 Metascore
    • 50 Mike Clark
    If you're going because you want to see an entertaining horror movie, good luck.
    • 22 Metascore
    • 25 Mike Clark
    This Paramount release doubles the insult because it rips off the title of one of the studio's best-remembered Jerry Lewis comedies.
    • 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
    • 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.
    • 81 Metascore
    • 75 Mike Clark
    The movie, which ends on an unexpected note of wistful humor, also gleans gentle and non-derisive chuckles out of Fin's physical state.
    • 66 Metascore
    • 100 Mike Clark
    Cold and cut to the bone, the film is a primer in screen virtuosity. Standard action film clichés, like a face getting hit with a chair, get turned inside out; both film and actors somehow manage to seem realistic and stylized at the same time. [21 Sept 1990, Life, p.6D]
    • USA Today
    • 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
    • 79 Metascore
    • 100 Mike Clark
    The most provocative miscarried-justice movie ever. [26 Aug 1988]
    • USA Today
    • 33 Metascore
    • 38 Mike Clark
    A contrived, unpleasant and very drawn-out affair.
    • 73 Metascore
    • 88 Mike Clark
    Breakdown exploits so many traditional thriller situations that any suspense fan vet can easily devote a hand to counting off the predecessors it plunders. [02May1997 Pg 12.D]
    • USA Today
    • 26 Metascore
    • 50 Mike Clark
    Eventually evolves into a murder mystery that isn't very compelling.
    • 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
    • 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.
    • 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.
    • 46 Metascore
    • 63 Mike Clark
    For better or worse, but surely satisfying novelty needs, Jerry Bruckheimer's King Arthur is set much earlier than usual and against the crumbling Roman Empire, which may even (or not) be historically legitimate.
    • 59 Metascore
    • 63 Mike Clark
    Compelling and provocative -- though not memorable.
    • 74 Metascore
    • 88 Mike Clark
    Occasionally very funny, the picture tends to coast on its cosmetics. A first-rate script might have made it a twisted masterpiece.
    • 79 Metascore
    • 75 Mike Clark
    Flowers is smartly observational -- but a little screen heat would be worth a bouquet.
    • 62 Metascore
    • 38 Mike Clark
    Neither the actors nor their characters engender much affection.
    • USA Today
    • 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
    • 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.
    • 42 Metascore
    • 38 Mike Clark
    Even the special effects alone aren't worth the price of admission.
    • 34 Metascore
    • 63 Mike Clark
    Sporadically amusing but sometimes slogging.
    • 84 Metascore
    • 88 Mike Clark
    Every movie year has one, and now it's Britain's Mike Leigh who's conjured up the professional reviewer's worst nightmare: the picture so original, well-acted and witty that it must be given its ample due - despite being heavy on components guaranteed to bum out all but the most frequent moviegoers. [23 Dec. 1993, p.5D]
    • 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
    • 82 Metascore
    • 88 Mike Clark
    Who, though, would assume rambunctious humor would be served up as well? Dickens meets the Beverly Hillbillies, and the movie is handsome, too. [10 May 1996, p.4D]
    • 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
    • 76 Metascore
    • 88 Mike Clark
    In a possible breakthrough role, Law would seem to be the big winner.
    • 65 Metascore
    • 75 Mike Clark
    This is a movie to be knocked, chewed and gummed, but not dismissed. It's the first 2001 release I've rushed to see twice.
    • 97 Metascore
    • 100 Mike Clark
    Like too many others, I resisted seeing (or at least, rushing out to) this film, fully expecting a stolid, respectable bummer; what I found, without the filmmakers ever having cheapened the material, is one of 1989's most entertaining movies. There is even, I swear, a barroom brawl that's out (and worthy) of John Ford. [3 Jan 1990, p.4D]
    • 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
    • 69 Metascore
    • 75 Mike Clark
    Once you're onto its wavelength (it doesn't take long), Linklater's passing parade starts to ring true. [15 Aug. 1991, p. 5D]
    • USA Today
    • 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
    • 20 Metascore
    • 25 Mike Clark
    Structured loosely enough to work in all the excrement and incest jokes necessary to seem hip these days.
    • 78 Metascore
    • 88 Mike Clark
    This giggle does for dog shows what Rob Reiner's "This Is Spinal Tap" (in which Guest plays Nigel Tufnel) did for heavy metal.
    • 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
    • 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
    • 42 Metascore
    • 63 Mike Clark
    You feel some of the strain in this immaculately shot, designed and costumed farce, but it's fast and the cast is lively, even though a lost-looking Broderick rarely gets to shoot his patented bewildered look.
    • 84 Metascore
    • 88 Mike Clark
    Thompson has had the good sense and sensitivity to get Austen right, while letting Winslet steal the show.
    • 84 Metascore
    • 88 Mike Clark
    The result is almost enough to make an audience levitate.
    • 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
    • 69 Metascore
    • 75 Mike Clark
    Though this is a tough movie to dislike, it plays more like a second draft than a final product.
    • 77 Metascore
    • 88 Mike Clark
    Some of the movie's best scenes -- knockouts, in fact -- involve musical interludes.
    • 59 Metascore
    • 63 Mike Clark
    Fanning and Russell make this watchable family entertainment, if not necessarily at today's prices.
    • 69 Metascore
    • 63 Mike Clark
    Of all unlikely possibilities, the team has finally made a movie that, for them, is on the tepid side.
    • 47 Metascore
    • 50 Mike Clark
    Pleasant but not more than recycled jock piffle.
    • 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

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