For 51 reviews, this critic has graded:
  • 47% higher than the average critic
  • 1% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 1.6 points higher than other critics. (0-100 point scale)

Cath Clarke's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Birdman or (The Unexpected Virtues of Ignorance)
Lowest review score: 20 That Awkward Moment
Score distribution:
  1. Positive: 17 out of 51
  2. Negative: 2 out of 51
51 movie reviews
    • 90 Metascore
    • 100 Cath Clarke
    It's dazzling and rambling, intimate and sprawling, and it's carried along by an infectious, off-the-cuff jazz score. As soon as it ends, you'll be dying to fly with it again.
    • 75 Metascore
    • 80 Cath Clarke
    Catching Fire looks and feels epic. Hands down it’s one of the most entertaining films of the year.
    • 86 Metascore
    • 80 Cath Clarke
    This painful, beautiful doc chronicles the fightback.
    • 65 Metascore
    • 80 Cath Clarke
    The whole thing goes down with a few bucketloads of sugar. What keeps it from becoming sticky schmaltz is Thompson, who plays Travers with wit and warmth, adding a spoonful of spoilt child to help the battleaxe go down.
    • 74 Metascore
    • 80 Cath Clarke
    ‘Bodies’ gets under your skin and stays there. And the gospel handclapping soundtrack feels like it’s drawing you into a dream.
    • 74 Metascore
    • 80 Cath Clarke
    This tense New York drama from the co-directors of Bee Season and The Deep End is sensitive and almost unwatchably perceptive about dysfunctional families – and it’s acted with knife-sharp precision.
    • 80 Metascore
    • 80 Cath Clarke
    Intelligent and moving.
    • 90 Metascore
    • 80 Cath Clarke
    Her
    Her is a keeper of a film, quietly dazzling.
    • 79 Metascore
    • 80 Cath Clarke
    Nicole Holofcener has a reputation for making Woody Allen-ish chick-flicks. Which sounds like a snidey compliment. Enough Said is her best yet.
    • 62 Metascore
    • 80 Cath Clarke
    What makes it special is that it’s not another romance about finding a man. It’s about finding your people, about being a bit lost in your twenties and not knowing who you are or what you want to be. And it’s got bucketfuls of charm.
    • 67 Metascore
    • 80 Cath Clarke
    What will take your breath away is how viciously Armstrong crushed and humiliated anyone who dared to make allegations against him, and that includes former teammates he’d doped with.
    • 66 Metascore
    • 80 Cath Clarke
    The story is a bit predictable and rough around the edges. But it’s heart-on-the-sleeve sweet.
    • 77 Metascore
    • 80 Cath Clarke
    Tracks might be a bit slow for some, but it’s one of those films that quietly creeps up on you.
    • 72 Metascore
    • 80 Cath Clarke
    As arthouse coming-of-age films go, this is brilliant – smart and sensitive with a screw-you feminist streak. And it’s beautifully acted by two first-time actresses playing Eka and Natia, who have been friends forever.
    • 77 Metascore
    • 80 Cath Clarke
    [A] wickedly funny black comedy, all fatalism and gallows humour, with both a beating heart and an inquiring mind lingering beneath its tough-guy bluster.
    • 64 Metascore
    • 80 Cath Clarke
    This is a whistle stop tour that leaves you wanting more.
    • 75 Metascore
    • 80 Cath Clarke
    Every emotion is bang-on; every scene unfolds grippingly and naturally; and by the end, these characters feel like people you know.
    • 53 Metascore
    • 60 Cath Clarke
    Moretz is unnervingly talented, but Carrie is not a role she was born to play. She hasn’t a victim’s bone in her body and fluffs the early scenes when the mean girls pick on her.
    • 65 Metascore
    • 60 Cath Clarke
    Stick with it and writer/director Alice Rohrwacher’s first feature reveals another side: taking a small town as a microcosm of Berlusconi’s something-rotten-at-the-core Italy.
    • 71 Metascore
    • 60 Cath Clarke
    The film’s Groundhog Day-meets-Independence Day plot is actually pretty genius.
    • 51 Metascore
    • 60 Cath Clarke
    Love, Marilyn blows out of the water the impression of Monroe as the helpless dumb blonde.
    • 57 Metascore
    • 60 Cath Clarke
    It's très chic and charming but a bit disappointing when you see where it's headed.
    • 82 Metascore
    • 60 Cath Clarke
    It’s a touching film and a fascinating glimpse into one of those couples you can’t quite believe are still together.
    • 63 Metascore
    • 60 Cath Clarke
    Bale is as good as it gets, Harrelson shows us why he is Hollywood’s favourite psycho and Willem Dafoe is terrific as a sleazy drug dealer. The rest of the film is without a bat squeak of authenticity.
    • 70 Metascore
    • 60 Cath Clarke
    The message to take home: put a pot of lavender on your windowsill. Save bees!
    • 52 Metascore
    • 60 Cath Clarke
    What keeps this out of Nicholas Sparks bumper-paperback territory are terrific performances and Reitman’s control of the drama.
    • 71 Metascore
    • 60 Cath Clarke
    Heldenbergh and Baetens pull you in with committed performances ­– their raw pain and grief is totally believable. But all that honest, intense emotion is thrown away as the film outstays its welcome by 40 minutes or so, piling one tragedy on to another.
    • 51 Metascore
    • 60 Cath Clarke
    You’ll be left scratching your head wondering what a naked girl draped in a purple net curtain in a cemetery has got to do with frocks. Not many revelations here.
    • 59 Metascore
    • 60 Cath Clarke
    In Firth’s every grimace and flinch you feel the torment of Lomax’s private world, but emotionally ‘The Railway Man’ feels trimmed and tidied up.
    • 57 Metascore
    • 60 Cath Clarke
    Kevin Macdonald’s slightly drab adaptation of Meg Rosoff’s popular teen novel would be nothing without Saoirse Ronan.