For 73 reviews, this critic has graded:
  • 46% higher than the average critic
  • 2% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 2.2 points higher than other critics. (0-100 point scale)

Cath Clarke's Scores

  • Movies
  • TV
Average review score: 62
Lowest review score: 20 Diana
Score distribution:
  1. Positive: 25 out of 73
  2. Negative: 2 out of 73
73 movie reviews
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 65 Metascore
    • 60 Cath Clarke
    In this heartfelt film, Fleifel shows us the human cost of the conflict.
    • tbd Metascore
    • 60 Cath Clarke
    There are some gorgeous comic touches.
    • 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.
    • 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.
    • 71 Metascore
    • 60 Cath Clarke
    The film’s Groundhog Day-meets-Independence Day plot is actually pretty genius.
    • 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
    Like Restrepo, this troubling and thoughtful documentary asks tough questions.
    • 47 Metascore
    • 60 Cath Clarke
    The 3D effects are dazzling, but the script creaks and the characters are thin.
    • 61 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 53 Metascore
    • 60 Cath Clarke
    The film is frantic and silly and our biggest gripe is that all the penguins look the same.
    • 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
    It’s a thoughtful, well-acted and perceptive drama. However, for a film about a love triangle the sparks don’t exactly fly.
    • 75 Metascore
    • 60 Cath Clarke
    A beautifully acted but disappointingly stiff period drama.
    • 65 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.
    • 44 Metascore
    • 40 Cath Clarke
    It doesn’t even qualify for dumb fun.
    • 35 Metascore
    • 40 Cath Clarke
    From the opening voiceover to the out-of-their-heads party scenes, it’s utterly generic.
    • 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.
    • 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.

Top Trailers