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

Mike Clark's Scores

  • Movies
Average review score: 64
Highest review score: 100 Starship Troopers
Lowest review score: 12 Mixed Nuts
Score distribution:
942 movie reviews
    • 64 Metascore
    • 75 Mike Clark
    Between Jackson's opining and De Niro's hopeless alibis when he messes up, Jackie is good for a bundle of bloody ho-ho-hos.
    • 79 Metascore
    • 75 Mike Clark
    Williams is impressively restrained as well as funny, so fans need not fret. It only means that instead of Good Morning, Preppies, we're given a bittersweet, even eerie Goodbye, Mr. Hip. [2 June 1989, Life, p.1D]
    • 75 Metascore
    • 75 Mike Clark
    Viewers who like clean storytelling may not be happy. Those who savor ironic wrap-ups will be.
    • 67 Metascore
    • 75 Mike Clark
    Jeff Bridges has enough demons in The Door in the Floor to jam a crowd scene, but the actor's sheer likability remains undiminished.
    • 75 Metascore
    • 75 Mike Clark
    This movie is more wistful and winking, though it's obvious Mario is still working out emotional baggage with his tyrannically driven old man.
    • 60 Metascore
    • 75 Mike Clark
    A minor delight but a delight just the same.
    • 66 Metascore
    • 75 Mike Clark
    Gives Dennis Quaid one of his best screen showcases.
    • 66 Metascore
    • 75 Mike Clark
    Mean Girls has the same fancifully dead-on tone as the 1995 high-school comedy "Clueless" without the sweetness because, hey, these snits are mean.
    • 73 Metascore
    • 75 Mike Clark
    This has to be the raunchiest full-length animated feature since Fritz the Cat, which got an X rating in 1971.
    • 67 Metascore
    • 75 Mike Clark
    This movie is so much the opposite of uplifting that you think Gary Oldman ought to be in it. But it's honestly made, and its second half does linger in the memory.
    • 63 Metascore
    • 75 Mike Clark
    There's more terror than entertainment here, though. I've seen a lot of movies in my life I couldn't wait to see end; this may be the first good one.
    • 64 Metascore
    • 75 Mike Clark
    An equitably rude comedy about abortion, brazen by definition but also fairly droll. It's probably too schematic to reward more than a single viewing, but as a provocative one-time surprise it may become a specialized sleeper. [13 December 1996, p.4D]
    • 43 Metascore
    • 75 Mike Clark
    Potty humor to spare. [26 July 1996, p. D4]
    • 49 Metascore
    • 75 Mike Clark
    Engrosses if it doesn't fully convince. [18 October 1996, p.1D]
    • 60 Metascore
    • 75 Mike Clark
    Stylish, brisk but lacking in human dimension despite an attractive cast. [22 May 1996, p. D1]
    • 64 Metascore
    • 75 Mike Clark
    Easy to tumble for. [9 February 1996, p.D4]
    • 78 Metascore
    • 75 Mike Clark
    Indeed, Eve's milieu is fresh and specific enough to make even Jackson subordinate to Kasi Lemmons, the writer (and sometimes actress) who dreamed up this story for her directorial debut. [07Nov1997 Pg08.D]
    • 56 Metascore
    • 75 Mike Clark
    His complex personality comes through in this surprisingly affecting minor pleasure, though perhaps one shouldn't be surprised when two of Hoop Dreams' key makers reunite for another smart sports pic. [24Jan1997 Pg.03.D]
    • 72 Metascore
    • 75 Mike Clark
    Shot in semidocumentary fashion, it builds to a more visceral climax than one initially expects. [26Nov1997 Pg.09.D]
    • 62 Metascore
    • 75 Mike Clark
    But it does mine Murphy's gifts, and the payoff is both nutty and funny. Sometimes even touching, too. [28Jun1996 Pg.01.D]
    • 60 Metascore
    • 75 Mike Clark
    This is a blueprint for mainstream moviegoing, but be forewarned that the finale is surprisingly down-and-dirty. In this case, though, the violence blisteringly redeems what has been a merely OK thriller. [8Nov1996 Pg.01.D]
    • 71 Metascore
    • 75 Mike Clark
    Thing's opening hour is fast-paced, though not fast enough to obscure the reality that "American Graffiti" and "Diner" had sharper writing and certainly more psychological depth. [04 Oct 1996, Pg.01.D]
    • 60 Metascore
    • 75 Mike Clark
    Despite implied fidelity, we might as well be watching William Shakespeare's The Cable Guy. Yet the film's skewed stylistic flourishes capture enough of the original's spirit to provoke more respect than rejection. [01Nov1996, Pg. 01.D]
    • 61 Metascore
    • 75 Mike Clark
    Talk about the limitations of using the four-star rating system to assess a movie both glorious and dreadful, with the dreadful components glorious as well in their own bent way. [23 Feb 1996, p.1D]
    • 83 Metascore
    • 75 Mike Clark
    A Little Princess is the first of its progeny to blend brains with entertainment. This stylish sleeper easily outpaces the studio's starchy updates of "Black Beauty" and "The Secret Garden", and even betters Shirley Temple's 1939 take on Frances Hodgson Burnett's Princess perennial. [18 May 1995, 12D.]
    • 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]
    • 67 Metascore
    • 75 Mike Clark
    Though Robocop is too well-crafted to be entirely loathsome, it's at best an amoral goof. Yet like the comparably silly Lethal Weapon, it cynically pushes all the right action-audience buttons. Better duck - here comes a monster hit. [17 Jul 1987]
    • 60 Metascore
    • 75 Mike Clark
    Though not exactly dynamic, the movie offers insights into a specific culture. Ashley Rowe's photography is exquisite, and Driver has never been better. [14 Aug 1998]
    • 55 Metascore
    • 75 Mike Clark
    Obviously armed with more gangster-of-love opportunities playing Pablo Picasso than he had playing Richard Nixon, Anthony Hopkins ends up opting here for wit over full-blooded passion, but it proves to be enough. [23 Sep 1996]
    • 71 Metascore
    • 75 Mike Clark
    The film is an impressive effort, yet often a trying one.