Mike Clark

Copycat, despite two tough-babe leads to kill for, flies in more directions than scattered kitty litter. [27 Oct 1995, pg.02D]

Let's just say that if you loved Dana Carvey in Opportunity Knocks, you'll thrill to Taking Care of Business. [17 Aug 1990]

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]

But the film's emotional core is father-son reconciliation, and Pete Postlethwaite is very sympathetic as Dad. [29 Dec 1993 Pg. 01.D]

The movie isn't without style, but the material can't remotely sustain 100 minutes.

Were some group to launch a rival to the Oscars called The Wackys, it could do worse than make crazed Crazy its first recipient.

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]

The longer the movie drones on, the queasier it gets. [6 June 1997, Life, p.3D]

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]

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]

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]

Mediocre terrorist melodrama turned even punier by real-life events, and that's before we scratch our heads at its lead-actor choice.

Writer/director Julie Dash pours on sounds, music and costuming for a tone more impressionistic than dramatic - and more somnambulant than either. She might have gotten away with it for 80 minutes, but merciless Dust closes in on the two-hour mark, a structural shambles in the too-earnest American Playhouse tradition. [1 April 1992, p.6D]

Tim Robbins plays the working dad, and the movie misses him once he bails out early.

It's easier to take Hi-Heel Sneakers by Tommy Tucker- more seriously. [20 Dec 1991]

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.

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.

Unpleasantness alone doesn't sink a movie. But miserable tidings intensify when there's not only a high ick factor but also floundering storytelling.

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]

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]

Secret isn't the usual romp, but it's Almodovar's most committed work in years. [7 Mar 1996]

A notably undynamic treatment of Protestant Elizabeth I's ascension to the British throne.

What do you call a filmmaker who thinks imitating a screen benchmark can make up for emotions that are evading her actors -- Clueless.

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]

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]

A little of this will go a long way.

Jumps at chance to be silly.

The movie keeps switching focus without ever getting its bearings, and when Brando exits earlier than expected, there's little but mayhem to fall back on. Moreau and mayhem are synonymous, to be sure, but we already know this going in. [23 Aug 1996]