For 941 reviews, this critic has graded:
  • 56% higher than the average critic
  • 4% same as the average critic
  • 40% lower than the average critic
On average, this critic grades 3.8 points higher than other critics. (0-100 point scale)

Mike Clark's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Capturing the Friedmans
Lowest review score: 12 Jawbreaker
Score distribution:
941 movie reviews
    • 76 Metascore
    • 100 Mike Clark
    Emperor is like Full Metal Jacket - uneven, fuzzy, imperfect, and one of the reasons the movies were invented. [20 Nov 1987, p.1D]
    • USA Today
    • 79 Metascore
    • 100 Mike Clark
    This definitive "life goes on" movie does what Altman does best: juggle 22 characters, deftly switch moods, and offer a comlex warts-and-all characters whose lives seem to extend beyond the screen. Few movies attempt this; Fewer succeed. [1 Oct 1993]
    • USA Today
    • 80 Metascore
    • 100 Mike Clark
    The crucifixion is the strongest such scene of all time. [26 Aug 1988]
    • USA Today
    • 93 Metascore
    • 100 Mike Clark
    This is a great movie, but it needs a sales job because it's in Mandarin.
    • 71 Metascore
    • 100 Mike Clark
    Even in the classiest movie summer of the decade, Mob is destined to demand respect for Pfeiffer. [19 Aug 1988]
    • USA Today
    • 69 Metascore
    • 100 Mike Clark
    A premier boxing movie and a forceful Depression remembrance for the socially conscious, Cinderella Man also ices it for stargazers that Russell Crowe is the dominant screen actor working today.
    • 78 Metascore
    • 100 Mike Clark
    A perfect fit between filmmaker (Memento's Christopher Nolan) and material (Norway's same-name psycho-chiller from 1997), this remake gets all there is to get out of a peculiar premise with promise.
    • 94 Metascore
    • 100 Mike Clark
    This is a building-block movie: Its stand-out excellence becomes apparent only gradually.
    • 93 Metascore
    • 100 Mike Clark
    If artist R. (Robert) Crumb can dispense immediately with his resume in Terry Zwigoff's superb Crumb, we can, too. [21 Apr 1995]
    • USA Today
    • 76 Metascore
    • 100 Mike Clark
    Heat is in the cop-movie pantheon with Akira Kurosawa's "High and Low," and that's as "right" as the genre gets.
    • 59 Metascore
    • 100 Mike Clark
    The generally faithful script is by Anne Rice herself, the director is "The Crying Game"'s Neil Jordan, and both seem true to themselves and as true as they can be to artistic and visceral expectations. [11Nov1994 Pg. 01.D]
    • USA Today
    • 98 Metascore
    • 100 Mike Clark
    One of the rare sports films that devotes extensive screen time to heartbreaking losses is full of other surprises as well. [13 Oct 1994, p.1D]
    • USA Today
    • 78 Metascore
    • 100 Mike Clark
    A contender for the year's best film.
    • USA Today
    • 77 Metascore
    • 100 Mike Clark
    Despite the film's sporadic lulls, both director and star are on full beam. The first and third hours of this 20th-century epic are as dazzling as big-scale movies get.
    • 83 Metascore
    • 100 Mike Clark
    If it isn't flawless, neither is "Fantasia"... Here's a live-action/animated marvel with no screen antecedent; “Chinatown” may actually come closest. [22 June 1988]
    • USA Today
    • 89 Metascore
    • 100 Mike Clark
    Campion's script is very well received, but the film finally makes it on cinematics: bleakly beautiful photography, haunting score, and good acting. [12 Nov 1993]
    • USA Today
    • 90 Metascore
    • 100 Mike Clark
    The movie is so fun that it wouldn't need the mystery to be top-notch entertainment.
    • USA Today
    • 90 Metascore
    • 100 Mike Clark
    A movie this diminutive can be easily oversold, but we might see it on some year-end best lists. It eats at you, just like renewed love.
    • 86 Metascore
    • 100 Mike Clark
    The best news the G rating has had since the ratings system was instituted in 1968.
    • 80 Metascore
    • 100 Mike Clark
    The only things missing from making this showdown worthy of a Western is Murrow's sheriff's badge, a dusty street and maybe a spittoon for McCarthy's infamous invectives.
    • 74 Metascore
    • 100 Mike Clark
    His (Cameron) movie may not be perfect, but visually and viscerally, it pretty well is.
    • 89 Metascore
    • 100 Mike Clark
    Great cinema - and also a whopping good time. [19 September 1990, Life, p.1D]
    • USA Today
    • 76 Metascore
    • 100 Mike Clark
    Michael Mann , directs with his standard prejudice toward the sheer physical. The result, almost musical, has only a couple recent movie precedents. [25 Sep 1992, p.1D]
    • USA Today
    • 90 Metascore
    • 100 Mike Clark
    The rawest, most sustained screen portrayal of 20th century combat.
    • 66 Metascore
    • 100 Mike Clark
    Emma is the peak of the recent Austen pack and a star-maker, too -- an antidote to a summer in which even good movies have subordinated writing and characters to special effects. [02 Aug 1996, Pg.01.D]
    • USA Today
    • 70 Metascore
    • 100 Mike Clark
    Half-factual, half-fanciful and all funny, this labor of love is also unexpectedly touching. [28 September 1994, Life, p.5D]
    • USA Today
    • 73 Metascore
    • 100 Mike Clark
    Though Weaver is by all accounts (mine included) in the real-life “none-nicer'” class, I've always suspected she might be great as a shrew. She is. [21 Dec 1988, Life, p.1D]
    • USA Today
    • 82 Metascore
    • 100 Mike Clark
    More than any other example in recent memory, Chicago shows how much the element of surprise is missing from today's movies.
    • 86 Metascore
    • 100 Mike Clark
    A singular accomplishment so specifically keyed to Spacey's talents that it mandates going out on a limb to say it contains the performance that will ultimately be regarded as "the one."
    • 79 Metascore
    • 100 Mike Clark
    Forman finesses the story's grimmer aspects as he did in "Cuckoo's Nest," and his ability to switch moods on a dime remains unsurpassed.
    • 94 Metascore
    • 100 Mike Clark
    For a brutal black comedy about L.A. hitmen, Pulp Fiction bursts out of its binding with loopy delights. [14 Oct 1994]
    • USA Today
    • 80 Metascore
    • 100 Mike Clark
    Happily, there's nothing to misconstrue about the film: It's fabulous.
    • 83 Metascore
    • 100 Mike Clark
    After watching Pfeiffer and Day-Lewis submerge molten 19th-century sparks here, it is now conceivable that Scorsese could make compelling cinema out of “Three Blind Mice.” [17 Sept 1993, Life, p.1D]
    • USA Today
    • 74 Metascore
    • 100 Mike Clark
    Tucker is the best Capra movie since Capra quit making them himself. [12 Aug 1988]
    • USA Today
    • 65 Metascore
    • 100 Mike Clark
    There've been few screen moments more moving this year than Cruise's initial reaction to his brother's almost superhuman math prowess. [16 Dec 1988]
    • USA Today
    • 83 Metascore
    • 100 Mike Clark
    This is the kind of people-driven story that the movies used to give us - before special effects took over.
    • 80 Metascore
    • 100 Mike Clark
    Stripped of all bravado, Cruise delivers a raw and probably detractor-proof performance. Spielberg does what he did right in creating a novel milieu for "A.I. Artificial Intelligence," but this time the writing is fresher and anything but unwieldy.
    • 86 Metascore
    • 100 Mike Clark
    A great movie just got greater, thanks to this thorough restoration. [Director's Cut; 27 June 1997, p.D3]
    • USA Today
    • 70 Metascore
    • 100 Mike Clark
    The most powerful of all recent wayward-youth sagas; indeed, it's tough to recall the last such drama that packed as much emotional clout.
    • 74 Metascore
    • 100 Mike Clark
    Black Hawk turns nightmare into great cinema.
    • 86 Metascore
    • 100 Mike Clark
    As good as "Unforgiven." Or, to put it another way, as good as any movie Eastwood has ever directed.
    • 86 Metascore
    • 100 Mike Clark
    An instant classic, an Oscar-worthy showcase for Jeremy Irons, and a tightrope ballet over dicey screen material… A subtle movie - and thus a disturbing one. Like “Vertigo,” “The Night of the Hunter,” “Repulsion” and a few others, it finds beauty in morbidity - then nags you to come back for a second dose. [23 Sept 1988]
    • USA Today
    • 90 Metascore
    • 100 Mike Clark
    One of the year's best movies and certainly its most delightful screen surprise.
    • 90 Metascore
    • 100 Mike Clark
    The film now seems both mellowed and --thanks in part to the most vibrant-looking prints in its 22-year history -- revitalized.
    • 73 Metascore
    • 100 Mike Clark
    Though his film is like no other baseball movie, it may remind you of Paul Newman's hockey comedy Slap Shot: a knowing look at sport's underbelly - punctuated by jelly-belly laughs. [15 June 1988]
    • USA Today
    • 87 Metascore
    • 100 Mike Clark
    Though the movie may not change many minds about McNamara, it richly humanizes him, a valuable feat atop all the fascinating reflection.
    • 56 Metascore
    • 100 Mike Clark
    It's slick, melodramatic, even inherently trashy - but a blue-chip moviegoer investment. [11 Dec 1987, p.1D]
    • USA Today
    • 86 Metascore
    • 100 Mike Clark
    Joins company with "Sullivan's Travels" and "Sunset Boulevard" as the quintessential Hollywood peek-a-boos...[and] Tim Robbins' modulated performance rates rhapsodic praise. [10 Apr 1992]
    • USA Today
    • 79 Metascore
    • 100 Mike Clark
    A masterpiece. (9 Jan 1998, p.3D)
    • USA Today
    • 68 Metascore
    • 100 Mike Clark
    Tempers moments of despair with deliriously romantic passages abetted by James Horner's traditionally lush score and photography by John Toll ("Legends of the Fall's" Oscar winner).
    • 91 Metascore
    • 100 Mike Clark
    Still mesmerizes on the strength of George C. Scott's chew-your-behind performance. [5 Nov. 1999, p.6E]
    • USA Today
    • 74 Metascore
    • 100 Mike Clark
    Tightly constructed and controlled.
    • USA Today
    • 93 Metascore
    • 100 Mike Clark
    With flawless precision, the movie flows seamlessly between a virtual newsreel approach (to chronicle senseless, arbitrary atrocities on the people) and a slightly more direct narrative technique that characterized the film's three dominant characters - each one cast to perfection. [15 Dec 1993]
    • USA Today
    • 90 Metascore
    • 100 Mike Clark
    Produced by HBO but too good not to play theaters, this soon-to-be minor classic is the best movie about society's untrendiest since "Ghost World" exactly two years ago.
    • 72 Metascore
    • 100 Mike Clark
    It's hard to recall the last movie that has left such an emotionally searing question dangling in the mind: "What if ... ?"
    • 66 Metascore
    • 100 Mike Clark
    Cold and cut to the bone, the film is a primer in screen virtuosity. Standard action film clichés, like a face getting hit with a chair, get turned inside out; both film and actors somehow manage to seem realistic and stylized at the same time. [21 Sept 1990, Life, p.6D]
    • USA Today
    • 79 Metascore
    • 100 Mike Clark
    The most provocative miscarried-justice movie ever. [26 Aug 1988]
    • USA Today
    • 51 Metascore
    • 100 Mike Clark
    This twisted space opera serves up carcasses in six-digit figures but is foremost a sendup for the ages.
    • 81 Metascore
    • 100 Mike Clark
    Violence is in the spirit of the hardest-hitting film noir offerings from the '50s, but far more explicit. It's also in the spirit of the Western.
    • 53 Metascore
    • 100 Mike Clark
    The chief delight is Kasdan. “Body Heat” was appropriately slick, but “The Big Chill” and “Silverado” too much so. Tourist is edgier - also the work of a genuine craftsman. Frankly, I didn't think Kasdan had it in him. [23 Dec 1988, Life, p.1D]
    • USA Today
    • 89 Metascore
    • 100 Mike Clark
    This subject demands consummate screen treatment and now has absolutely gotten it from director/producer Spike Lee. [10 Jul 1997, Pg.02.D]
    • USA Today
    • 83 Metascore
    • 100 Mike Clark
    With special effects so convincing you don't even think about them, a head-case hero and a three-dimensional villain who is his equal, socko Spider-Man 2 has something for everyone.
    • 90 Metascore
    • 100 Mike Clark
    Not since "Memento" has a movie served up such a provocative mind-bender, and the Sundance winner by first-time filmmaker Andrew Jarecki has the advantage of being true.
    • 91 Metascore
    • 100 Mike Clark
    This is a fascinating movie experience. [30 June 1989, Life, p.1D]
    • USA Today
    • 91 Metascore
    • 100 Mike Clark
    Blethyn is so astonishing that you forget you're seeing a performance.
    • 68 Metascore
    • 100 Mike Clark
    A precisely modulated and mostly mesmerizing 2¾-hour suspense movie, in part because it's one of the most bravely disturbing screen works ever attempted about thoughts withheld by even the most devoted marriage partners and the ramifications of voicing them.
    • 87 Metascore
    • 100 Mike Clark
    It's a heart-wrenching portrayal of unfulfilled Wyoming love, but this time, we don't mean Alan Ladd and Jean Arthur in "Shane."
    • 78 Metascore
    • 88 Mike Clark
    The "Age of Innocence" oozes anthropological dazzle, but Dazed and Confused may some day rate its own Smithsonian showings for clinically re-creating the High School Experience 1976. [20 Sept 1993]
    • USA Today
    • 74 Metascore
    • 88 Mike Clark
    Ultimately grim, Liam is ripe in humanity --and even comedy.
    • USA Today
    • 80 Metascore
    • 88 Mike Clark
    Has the unanticipated craft and artfully ambiguous appeal of last year's "Croupier," a movie whose art-house word-of-mouth success could be duplicated here.
    • 65 Metascore
    • 88 Mike Clark
    The relaxed and confident Crusade is the first Jones outing to benefit from actual characterizations. [24 May 1989, Life, p.1D]
    • USA Today
    • 70 Metascore
    • 88 Mike Clark
    The result is a foot-stomping rouser. Where else can you get a cop in his underwear boogalooing with skyscraper terrorists? [15 July 1988, Life, p.4D]
    • USA Today
    • 77 Metascore
    • 88 Mike Clark
    The most imperfect of the year's best movies, Magnolia's flaws are easily forgiven because they are the result of go-for-broke ambition.
    • 81 Metascore
    • 88 Mike Clark
    Like the first half of "Best in Show," the movie is so deadpan that sometimes you have to pinch yourself to realize how potently satirical it is.
    • 77 Metascore
    • 88 Mike Clark
    Overstuffed but exuberantly humane.
    • 85 Metascore
    • 88 Mike Clark
    With this 2002 Cannes Film Festival best-picture winner, Polanski skips the quirky flourishes and simply brings history to life.
    • 73 Metascore
    • 88 Mike Clark
    Ray
    Ray could not have been made without star Jamie Foxx.
    • 75 Metascore
    • 88 Mike Clark
    A cool and clinical reportorial remembrance whose very title reminds us who Solanas was. [3 May 1996, p. 10D]
    • USA Today
    • 64 Metascore
    • 88 Mike Clark
    The filmmaker keeps upping the ante with surprises until the plot-twist beaut that concludes the picture - a shocker that, upon reflection, is probably the one ending that wouldn't have fallen a little flat.
    • 70 Metascore
    • 88 Mike Clark
    In a role as tailor-made for him as the story is for its writer and director, Nicolas Cage anchors the movie with one of his best performances.
    • USA Today
    • 72 Metascore
    • 88 Mike Clark
    This is one inspiring movie despite extremely tricky subject matter -- better than "Shine" and among the most affecting ever made about co-existing with mental demons.
    • 87 Metascore
    • 88 Mike Clark
    Accessibly brainy screen charmer.
    • 90 Metascore
    • 88 Mike Clark
    A little movie almost perfectly realized.
    • 73 Metascore
    • 88 Mike Clark
    Watching this movie, it seems to be the next level down from great -- maybe too episodic. But it burns in the memory weeks after you see it.
    • 61 Metascore
    • 88 Mike Clark
    Some caper movies build suspense, while others tweak the genre with tongue lancing cheek. But this lesbian caper pic (how's that for a rarefied subgenre?) often pulls off both feats in the same scene, even simultaneously. [04 Oct 1996 Pg.04.D]
    • USA Today
    • 70 Metascore
    • 88 Mike Clark
    Uniformly robust acting puts still more feathers in the caps of Rush, Winslet and Caine.
    • 65 Metascore
    • 88 Mike Clark
    This is a very bloody fantasy (reds do eke their way into the black-and-blues), but it's hard to think of another film with as many severed heads whose overall tone is so sweet.
    • 86 Metascore
    • 88 Mike Clark
    Bedroom succeeds with performances that get some of their power from imaginative casting.
    • 68 Metascore
    • 88 Mike Clark
    A summer crowd-pleaser worthy of its wind.
    • USA Today
    • 73 Metascore
    • 88 Mike Clark
    A 2-hour classic wrongfully stretched into three.
    • 68 Metascore
    • 88 Mike Clark
    Spielberg's must-see is so wondrous at depicting things that go crunch in the night that its human characterizations and pokey exposition seem astonishingly halfhearted… On a "people" level, Park isn't “Jaws,” but on a jolt level - oh, yes, it is. [11 June 1993, Life, p.1D]
    • USA Today
    • 84 Metascore
    • 88 Mike Clark
    At its best, hard-hitting grown-up cinema (rare these days) and a movie blessed with a villain (Big Tobacco) for which all gloves can be removed and heaved into the next county.
    • 90 Metascore
    • 88 Mike Clark
    This grade-A sleeper sends you out with an unexpected smile. [25 Nov 1992]
    • USA Today
    • 75 Metascore
    • 88 Mike Clark
    Paradis is a most striking subject, but the movie is a winner as well, starting with a story full of black-comic possibilities exploited fully by the great French director Patrice Leconte.
    • USA Today
    • 59 Metascore
    • 88 Mike Clark
    There is enough mirthful good will generated to justify even another sequel. May we suggest: "License to Shag," "You Only Shag Twice" or "Thundershag."
    • USA Today
    • 83 Metascore
    • 88 Mike Clark
    Bout No. 2 is among the best closed-quarters screen fights ever, as good as (and longer than) Frank Sinatra vs. Henry Silva in The Manchurian Candidate. And Hannah does more for an eyepatch than anyone since the late Israeli defense minister Moshe Dayan.
    • 79 Metascore
    • 88 Mike Clark
    This is one movie in which you don't feel the long-ish running time, in part because there always seems to be a surprise (as well as a new street guerrilla) around every corner.
    • 58 Metascore
    • 88 Mike Clark
    Hunt is coldly clinical rather than emotionally resonant; so is the measured ensemble work of a super cast. [2 Mar 1990, Life, p.1D]
    • USA Today
    • 79 Metascore
    • 88 Mike Clark
    Proves there are Holocaust stories still to be told.
    • USA Today
    • 83 Metascore
    • 88 Mike Clark
    A smooth mix of humanism and keen filmmaking instincts.

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