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Lean On Me

Lean On Me

Drama · 1989

When principal Joe Clark takes over decaying Eastside High School, he's faced with students wearing gang colors and graffiti-covered walls. Determined to do anything he must to turn the school around, he expels suspected drug dealers, padlocks doors and demands effort and results from students, staff and parents. Autocratic to a fault, this real-life educator put it all on the line.

Movie details

Lean On Me

“Eastside High was out of control...until Joe Clark took it back.”

1989 Drama 1h 48m

Critical arithmetic

One number, for now.

TMDB

7.3 / 10

Community rating

When principal Joe Clark takes over decaying Eastside High School, he's faced with students wearing gang colors and graffiti-covered walls. Determined to do anything he must to turn the school around, he expels suspected drug dealers, padlocks doors and demands effort and results from students, staff and parents. Autocratic to a fault, this real-life educator put it all on the line.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Lean On Me?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Names above the title

The people responsible.

Directed by

John G. Avildsen

Written by

Michael Schiffer

Morgan Freeman

Morgan Freeman

Principal Joe Clark

Beverly Todd

Beverly Todd

Ms. Levias

Robert Guillaume

Robert Guillaume

Dr. Frank Napier

Ethan Phillips

Ethan Phillips

Mr. Rosenberg

Lynne Thigpen

Lynne Thigpen

Leonna Barrett

Michael Beach

Michael Beach

Mr. Darnell

Tony Todd

Tony Todd

Mr. William Wright

Court is in session

Put Lean On Me on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.