MORE AND LESS IN A PAIR OF BRITISH ACTS

In this new Calendar column devoted to pop videos, Atkinson and Chris Willman will alternate in the reviewer’s seat. Videos are rated on a scale of 0-100.

Two of Britain’s most acclaimed acts have new videos that deserve a deeper look than most, even though both are flawed. One shows esoteric singer Kate Bush trying harder than ever to match her complex music with compelling visuals, while the other finds some new hotshots not trying very hard at all--on purpose.

Kate Bush’s “Cloudbusting.” Few pop artists of the ‘80s have shown more potential to make a really outstanding music video than Bush, whose grandly designed songs seem perfect subjects for video interpretation. Like David Bowie and her friend Peter Gabriel, Bush has shown a deep interest in the visual aspects of performance--mime, costumes, dance--and she’s been making videos since her first single in 1978.

Yet her videos have been generally disappointing, though always original. “Cloudbusting” is an impressive step forward: a richly photographed mini-movie that condenses the children’s tale (Peter Reich’s “A Book of Dreams”) upon which the song is based. It even features a movie star: Donald Sutherland as the magical rainmaker hunted by the government. Bush, her hair cropped, plays his son.

While both give good performances, the casting is distracting. A video does not give us time to suspend our awareness of Donald Sutherland, actor , and Bush is not a convincing boy. Another problem with “Cloudbusting” is that we are not given enough of a story line to get involved, as we might if this were a 90-minute feature. Even so, much of “Cloudbusting” has a lovely, spacious feeling (enhanced by superb editing) and an impressionistic strength that complements the beautiful song. Director: Julian Doyle (editor of “Brazil”). 77

The Jesus and Mary Chain’s “Just Like Honey.” The newest British sensation to get an American push has a unique sound, but in this video the quartet bears the visual trademarks of every other arty UK band that’s been shipped over. Four guys with stylishly ruffled hair pose sullenly in front of the camera as if their mums had made them do it. They hang their heads and lazily strum guitars. Singer Jim Reid barely moves his lips. The director tries to make up for it, dollying at oblique angles, filming against a stark white background, switching to a dark shot suddenly lit by a neon sign.

Still, as British poseurs go, the members of the Jesus and Mary Chain are among the more intriguing. And then there’s the music: It’s basically just a trick of the mix without much apparent substance underneath, but it teases the ear while the eye tries to figure out what to make of these dour blokes. Director: Tim Broad. 55

Other new videos in brief:

Boogie Boys’ “You Ain’t Fresh.” If you’re not tired of rap and could use a laugh, by all means search out this brash clip (I found it on USA Cable’s “Night Flight,” currently the only regular purveyor of truly unusual videos). Funky surrealism at its best--and maybe only-est. Director: Julia Heyward. 85

Dream Academy’s “Life in a Northern Town.” This video deftly parallels the essential charm of this new London group’s music. Texture counts most in both: There’s nothing that special about the content of the visuals, which alternate between the rather static young band members and rain-splattered scenes of England’s countryside, but the video is made affecting largely through editing that fits the images to the tone of the music, blending moody reflection and buoyant celebration. Directors: Leslie Libman, Larry Williams. 75

Eurythmics’ “It’s All Right (Baby’s Coming Back).” Another nice animation video, another pleasing Eurythmics clip, but somehow not very memorable. The frame-by-frame method is smart and stylish but doesn’t convey much more than colorful, glossy images--the video equivalent of air-brush art. Live-action shots of Annie Lennox and Dave Stewart are interwoven. Since Stewart is Lennox’s ex-lover and he plays the baby that’s coming back here, does that mean . . . ? Sorry to gossip, but there’s not much else to talk about in this classy but still rather ho-hum clip. Director: Willy Smax. 67

ABC’s “(How to Be a) Millionaire.” It had to happen, given the animation boom in videos: the Saturday-morning-cartoon look. And who better to be in it than Martin Fry, who’s very believable as a cartoon character. This looks like an excerpt from the old Archies show, though without even that much wit--and with a song that couldn’t touch “Sugar Sugar” with a 10-foot peppermint stick. Directors: A. Best, T. Hall. 35

Sade’s “Sweetest Taboo.” Sade Adu lounges around looking sophisticated, sultry, and slightly sad. Sade opens her languorous mouth and sings a languorously romantic song. Sade rides a white horse. Get this woman out of videos and into perfume commercials, where she really belongs. Director: Brian Ward. 25

The Entertainment Industry’s Council Against Drug Abuse’s “Stop the Madness.” Just as the Gary Numans of pop music came in the wake of David Bowie, intelligence-insulting videos-with-a-cause were bound to follow “We Are the World” and “Sun City.” “Stop the Madness” is the pits of the genre: a tasteless celebrity stew featuring mostly minor R&B;/pop talents singing a song that should have been called “Stop the Music.” Stuck like pins into the framework of horror-of-drugs cliches and horror-of-”Fame” dancing are guest warnings from the likes of Stacy Keach and Arnold Schwarzenegger. A great video for anyone who likes to be lectured by people who once indulged in the very things they proselytize about today. Director: John Langley. 10

Kiss’ “Uh All Night.” Take everything that was sleazy about Busby Berkeley’s ‘30s choreography, leave out all the wit and fun, mix with ‘80s hard-rock at its most mundanely bestial, and you’ve got this bad joke. Director: David Mallet. 5