For 88 reviews, this critic has graded:
  • 45% higher than the average critic
  • 3% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 2.6 points higher than other critics. (0-100 point scale)

Cath Clarke's Scores

  • Movies
  • TV
Average review score: 62
Lowest review score: 20 That Awkward Moment
Score distribution:
  1. Positive: 32 out of 88
  2. Negative: 2 out of 88
88 movie reviews
    • 88 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.
    • 63 Metascore
    • 80 Cath Clarke
    Pitch Perfect 2 is totally goofy but very sweet.
    • 75 Metascore
    • 80 Cath Clarke
    This isn’t much more than a series of ridiculously dotty sketches, and might have worked better as a sitcom, but it’s surprisingly hilarious.
    • 62 Metascore
    • 80 Cath Clarke
    Even now at 50, Jarvis is a man who remains head-on crushable while dry humping an amp like your geography teacher on the Bacardi Breezers.
    • 64 Metascore
    • 80 Cath Clarke
    This is a whistle stop tour that leaves you wanting more.
    • 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.
    • 80 Metascore
    • 80 Cath Clarke
    If it wasn’t so violent, the simplicity of the metaphor – how the abused and outcast will rise up – would work for young audiences. And you won’t beat it for dog acting.
    • 82 Metascore
    • 80 Cath Clarke
    For a film posing the metaphysical biggies, there is tenderness and laughs. Its bonkers approach to storytelling and life may drive some nuts. The rest of us will soar with the birds.
    • 64 Metascore
    • 80 Cath Clarke
    While it definitely takes its foot off the action, Mockingjay – Part 1 goes deeper and darker.
    • 80 Metascore
    • 80 Cath Clarke
    This woman has plenty of blunt wisdom to share.
    • 63 Metascore
    • 80 Cath Clarke
    Some people will hate Trash for being not grittily real enough, but Daldry’s point – a hope-against-hope optimistic one – is that the energy of young people can change Brazil.
    • 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.
    • 86 Metascore
    • 80 Cath Clarke
    This painful, beautiful doc chronicles the fightback.
    • 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.
    • 74 Metascore
    • 80 Cath Clarke
    Far from Men is a character study — a two-hander expertly acted by Mortensen and Kateb (best known for the terrific French cop show Spiral).
    • 93 Metascore
    • 80 Cath Clarke
    It works and then some, making for a noirish and complex emotional thriller. And Hoss is incredible, playing Nelly with the shuffling gait and haunted expression of a dead woman walking.
    • 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.
    • 86 Metascore
    • 80 Cath Clarke
    Don’t watch this doc for a lesson in the crisis. Maidan is hard work, with no voiceover or interviews and just the odd scrap of information written on screen to guide you through.
    • 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.
    • 78 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.
    • 70 Metascore
    • 80 Cath Clarke
    What makes The New Girlfriend special is that is has something to say about sexuality (feminine, masculine, gay, straight, and everything in between – it’s complicated).
    • 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.
    • 86 Metascore
    • 80 Cath Clarke
    Dreamcatcher is harrowing.
    • 66 Metascore
    • 80 Cath Clarke
    The story is a bit predictable and rough around the edges. But it’s heart-on-the-sleeve sweet.
    • 75 Metascore
    • 80 Cath Clarke
    Catching Fire looks and feels epic. Hands down it’s one of the most entertaining films of the year.
    • 78 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.
    • 90 Metascore
    • 80 Cath Clarke
    Her
    Her is a keeper of a film, quietly dazzling.
    • 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.
    • 52 Metascore
    • 80 Cath Clarke
    You’ll walk out of this electrifying documentary about the Arab Spring with your blood boiling.
    • 80 Metascore
    • 80 Cath Clarke
    Intelligent and moving.
    • 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.
    • 47 Metascore
    • 60 Cath Clarke
    The 3D effects are dazzling, but the script creaks and the characters are thin.
    • 53 Metascore
    • 60 Cath Clarke
    The film is frantic and silly and our biggest gripe is that all the penguins look the same.
    • 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.
    • 70 Metascore
    • 60 Cath Clarke
    The pressure for minimalist Simons to succeed in the ultra-feminine world of Dior is intense.
    • 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.
    • 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.
    • 54 Metascore
    • 60 Cath Clarke
    It’s a thoughtful, well-acted and perceptive drama. However, for a film about a love triangle the sparks don’t exactly fly.
    • 50 Metascore
    • 60 Cath Clarke
    The Water Diviner is solid and old-fashioned.
    • 54 Metascore
    • 60 Cath Clarke
    Wade’s dialogue is totally convincing, all in-jokes and boarding school banter... The trouble with The Riot Club is that dramatically it never quite comes together.
    • 57 Metascore
    • 60 Cath Clarke
    It's très chic and charming but a bit disappointing when you see where it's headed.
    • 60 Metascore
    • 60 Cath Clarke
    What marks out director Mike Newell and writer David Nicholls’s version is its impeccable acting.
    • 60 Metascore
    • 60 Cath Clarke
    The film can’t match the novel’s elegant, startlingly excellent Booker-Prize-winning writing, but a first-class cast (including Charlotte Rampling and Sinéad Cusack) make this an absorbing watch.
    • 52 Metascore
    • 60 Cath Clarke
    The problem with the film is that Potts’s life story has been put through the Hollywood meatgrinder. Awkward details have been changed or erased – they’ve made Potts Welsh (he grew up in Bristol) and eliminated his siblings.
    • 65 Metascore
    • 60 Cath Clarke
    In this heartfelt film, Fleifel shows us the human cost of the conflict.
    • 60 Metascore
    • 60 Cath Clarke
    Missing – and missed – are Matthew McConaughey as snake-hipped strip club owner Dallas and director Soderbergh, who gave the original its lived-in feel.
    • 67 Metascore
    • 60 Cath Clarke
    Like Restrepo, this troubling and thoughtful documentary asks tough questions.
    • 64 Metascore
    • 60 Cath Clarke
    Brad Pitt pulls along this gutsy, old-fashioned World War II epic by the sheer brute force of his charisma.
    • 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.
    • 67 Metascore
    • 60 Cath Clarke
    Sir Ian McKellen is a pleasure to watch as an elderly Sherlock Holmes, though the drama isn't as compelling as it might have been.
    • 59 Metascore
    • 60 Cath Clarke
    Jolie has assembled an A-list team – Roger Deakins behind the camera, the Coen brothers in charge of the script - but while her film is perfectly competent, it hardly dazzles.
    • 70 Metascore
    • 60 Cath Clarke
    The message to take home: put a pot of lavender on your windowsill. Save bees!
    • 51 Metascore
    • 60 Cath Clarke
    Love, Marilyn blows out of the water the impression of Monroe as the helpless dumb blonde.
    • 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.
    • 69 Metascore
    • 60 Cath Clarke
    Into the Woods starts better than it finishes but it’s a great-looking film, with a nicely old-school, easy-on-the-CG feel.
    • 51 Metascore
    • 60 Cath Clarke
    There are some gorgeous Disney touches, rabble-rousing songs on the pirate ship and the usual ‘best friends for ever’ message.
    • 77 Metascore
    • 60 Cath Clarke
    A beautifully acted but disappointingly stiff period drama.
    • tbd Metascore
    • 60 Cath Clarke
    There are some gorgeous comic touches.
    • 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.
    • 57 Metascore
    • 60 Cath Clarke
    Kevin Macdonald’s slightly drab adaptation of Meg Rosoff’s popular teen novel would be nothing without Saoirse Ronan.
    • 56 Metascore
    • 60 Cath Clarke
    Entertaining but never quite thrilling, this actually feels like the second film in a franchise, coasting along, but saving the best bits for the next episode.
    • 71 Metascore
    • 60 Cath Clarke
    The film’s Groundhog Day-meets-Independence Day plot is actually pretty genius.
    • 41 Metascore
    • 60 Cath Clarke
    As a thriller, Before I Go To Sleep is perfectly effective, but while director Rowan Joffe keeps the twists coming, something about Kidman’s blank, frosty performance is unconvincing.
    • 83 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.
    • 67 Metascore
    • 60 Cath Clarke
    It’s all very sweet and harmless, though you can’t help wishing that Cinders got her happy ending for more than being kind to her digital mice and weathering a lot of crap with a never-ending smile on her face.
    • 68 Metascore
    • 60 Cath Clarke
    Bell is so goofy and likeable I found myself willing the film to keep up with her. But the funny bits are never quite funny enough, and the script loses feminist points bigtime for its sour bitch ex-wife character.
    • 73 Metascore
    • 60 Cath Clarke
    Like Bujalski’s early mumblecore work, this is sensitive and meandering – and just a little bit patience-testing. But it’s also infectiously sweet and honest-feeling.
    • 29 Metascore
    • 40 Cath Clarke
    Simon Pegg plays the world’s most unconvincing psychiatrist in this fluffy, irritating Brit comedy.
    • 34 Metascore
    • 40 Cath Clarke
    The novel A Long Way Down is not-quite-vintage Nick Hornby. And this is a disappointing film version, a bit hokey and fake.
    • 51 Metascore
    • 40 Cath Clarke
    Sadly, this polite film, though touching in places, is so desperate not to offend, it’s the film equivalent of sensible shoes. Diehard fashionistas may disagree.
    • 46 Metascore
    • 40 Cath Clarke
    In the end Horns is weird without being interesting.
    • 36 Metascore
    • 40 Cath Clarke
    We don’t invest anything in either character, and with barely any tension, Serena grabs neither head nor heart.
    • 42 Metascore
    • 40 Cath Clarke
    What a waste of Shailene Woodley the Divergent franchise is turning out to be.
    • 44 Metascore
    • 40 Cath Clarke
    Diehard romcom fans will have their socks charmed off, but this is no ‘Notting Hill’.
    • 44 Metascore
    • 40 Cath Clarke
    This Brit comedy has the watchability factor of a mediocre TV sitcom.
    • 41 Metascore
    • 40 Cath Clarke
    There are a couple of decent jumps and a few giggles, but nothing armrest-clenchingly scary about The Quiet Ones.
    • 44 Metascore
    • 40 Cath Clarke
    It doesn’t even qualify for dumb fun.
    • 55 Metascore
    • 40 Cath Clarke
    This snore-bore doc follows the year-long world tour of Kevin Spacey’s Old Vic production of 'Richard III’ directed by Sam Mendes ('Skyfall'). Critics dusted off all their big words to praise the play. But we don’t get to see much of it.
    • 54 Metascore
    • 40 Cath Clarke
    Like so many campaigning doc-makers he’s much more interested in throwing darts at the other guys – the anti-nuclear brigade (who have better slogans: ‘Hell, no, we won't glow’) – than giving us a balanced film.
    • 36 Metascore
    • 40 Cath Clarke
    This sentimental Michael Caine drama is so dull that doctors could prescribe it to treat insomnia. What the hell, they could probably use it to medically induce a coma.
    • 35 Metascore
    • 40 Cath Clarke
    From the opening voiceover to the out-of-their-heads party scenes, it’s utterly generic.
    • 59 Metascore
    • 40 Cath Clarke
    “Old age isn’t a battle; old age is a massacre,” Roth wrote in Everyman, but other than a few jokes about Axler’s limp erection and thrown-out back, we don’t see much of that.
    • 32 Metascore
    • 40 Cath Clarke
    It aims for a loose, French New Wave style but settles for muddled and rambling. It’s tortured for all the wrong reasons.
    • 52 Metascore
    • 40 Cath Clarke
    It's silly rather than scary, more insipid than insidious.
    • 35 Metascore
    • 20 Cath Clarke
    A right royal mess.
    • 36 Metascore
    • 20 Cath Clarke
    The actors – who seem to have been involved in a hideous industrial accident that’s left them with the superpower of repelling all comic timing – are spectacularly unfunny.

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