For 942 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 4.2 points higher than other critics. (0-100 point scale)

Mike Clark's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Eyes Wide Shut
Lowest review score: 12 Mixed Nuts
Score distribution:
942 movie reviews
    • 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
    • 90 Metascore
    • 100 Mike Clark
    One of the year's best movies and certainly its most delightful screen surprise.
    • 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
    • 79 Metascore
    • 100 Mike Clark
    The most provocative miscarried-justice movie ever. [26 Aug 1988]
    • USA Today
    • 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
    • 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
    • 91 Metascore
    • 100 Mike Clark
    This is a fascinating movie experience. [30 June 1989, Life, 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
    • 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.
    • 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
    • 74 Metascore
    • 100 Mike Clark
    Black Hawk turns nightmare into great cinema.
    • 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.
    • 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 ... ?"
    • 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.
    • 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
    • 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
    • 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
    • 91 Metascore
    • 100 Mike Clark
    Blethyn is so astonishing that you forget you're seeing a performance.
    • 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.
    • 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.
    • 80 Metascore
    • 100 Mike Clark
    Happily, there's nothing to misconstrue about the film: It's fabulous.
    • 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
    • 86 Metascore
    • 100 Mike Clark
    The best news the G rating has had since the ratings system was instituted in 1968.
    • 74 Metascore
    • 100 Mike Clark
    His (Cameron) movie may not be perfect, but visually and viscerally, it pretty well is.
    • 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.
    • 90 Metascore
    • 100 Mike Clark
    The movie is so fun that it wouldn't need the mystery to be top-notch entertainment.
    • USA Today
    • 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
    Heat is in the cop-movie pantheon with Akira Kurosawa's "High and Low," and that's as "right" as the genre gets.
    • 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.
    • 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
    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
    • 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).
    • 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
    • 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.
    • 78 Metascore
    • 100 Mike Clark
    A contender for the year's best film.
    • 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
    • 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."
    • 90 Metascore
    • 100 Mike Clark
    The rawest, most sustained screen portrayal of 20th century combat.
    • 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
    • 93 Metascore
    • 100 Mike Clark
    This is a great movie, but it needs a sales job because it's in Mandarin.
    • 74 Metascore
    • 100 Mike Clark
    Tightly constructed and controlled.
    • 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.
    • 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
    • 51 Metascore
    • 100 Mike Clark
    This twisted space opera serves up carcasses in six-digit figures but is foremost a sendup for the ages.
    • 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
    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.
    • 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.
    • 94 Metascore
    • 100 Mike Clark
    This is a building-block movie: Its stand-out excellence becomes apparent only gradually.
    • 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.
    • 86 Metascore
    • 100 Mike Clark
    As good as "Unforgiven." Or, to put it another way, as good as any movie Eastwood has ever directed.
    • 79 Metascore
    • 100 Mike Clark
    A masterpiece. (9 Jan 1998, p.3D)
    • USA Today
    • 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
    • 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.
    • 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.
    • 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.
    • 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."
    • 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
    • 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
    • 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
    • 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
    • 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
    • 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
    • 74 Metascore
    • 100 Mike Clark
    Tucker is the best Capra movie since Capra quit making them himself. [12 Aug 1988]
    • USA Today
    • 80 Metascore
    • 100 Mike Clark
    The crucifixion is the strongest such scene of all time. [26 Aug 1988]
    • USA Today
    • 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
    • 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
    • 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
    • 88 Mike Clark
    Too lingeringly creepy to ignore. [23 Oct 1992]
    • USA Today
    • 70 Metascore
    • 88 Mike Clark
    Uniformly robust acting puts still more feathers in the caps of Rush, Winslet and Caine.
    • 84 Metascore
    • 88 Mike Clark
    The result is almost enough to make an audience levitate.
    • 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
    • 90 Metascore
    • 88 Mike Clark
    This sleek adaptation of James Ellroy's dauntingly complex novel has the black-and-white tabloid soul of an old "Confidential" magazine.
    • 79 Metascore
    • 88 Mike Clark
    Proves there are Holocaust stories still to be told.
    • USA Today
    • 79 Metascore
    • 88 Mike Clark
    Majidi tells his simple story with dazzling vision.
    • 73 Metascore
    • 88 Mike Clark
    One of those movies in which pacing, dialogue and the right actors enliven a familiar story.
    • 78 Metascore
    • 88 Mike Clark
    With his coolly objective moon's-eye view serving a story that's bizarre by even his long-established career standards, the great documentarian Errol Morris examines the perils of vanity - though others will understandably make more sinister interpretations.
    • 75 Metascore
    • 88 Mike Clark
    Warren Beatty's uproariously rude Bulworth is 90% triumph.
    • 77 Metascore
    • 88 Mike Clark
    An emotionally honest low-ebber that builds to a satisfying wrap-up.
    • 82 Metascore
    • 88 Mike Clark
    The plan in A Simple Plan grows exponentially complex once the first dollar is purloined, an act that makes this unpretentious parable one of the season's better 'what's-going-to-happen-next?' movies.
    • USA Today
    • 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
    • 86 Metascore
    • 88 Mike Clark
    Twenty years ago, you could view early works of big-splash directors and often tell where they were coming from - or going. Yet Soderbergh and his debut project are mysteries. What can possibly come next? You won't be able to drag me out of line opening night. [4 Aug 1989, Life, p.1D]
    • USA Today
    • 76 Metascore
    • 88 Mike Clark
    Both the material and the way it's delivered by the movie's comic quartet are so funny.
    • 54 Metascore
    • 88 Mike Clark
    True to the book's squalor but also finding honest humor where it can.
    • 77 Metascore
    • 88 Mike Clark
    Overstuffed but exuberantly humane.
    • 73 Metascore
    • 88 Mike Clark
    A 2-hour classic wrongfully stretched into three.
    • 73 Metascore
    • 88 Mike Clark
    It's a tough entry into the tough black-comic genre; don't be surprised if it becomes a classic. [31 March 1989]
    • USA Today
    • 93 Metascore
    • 88 Mike Clark
    If Silver is superb, Irons is transcendent. As some forgotten comic once said of George Sanders: A grapefruit wouldn't dare squirt in his eye. [17 Oct 1990]
    • USA Today
    • 76 Metascore
    • 88 Mike Clark
    This is one of the best re-creations ever of the early-'50s Midwest. [11 Sept 1987, Life, p.3D]
    • USA Today
    • 80 Metascore
    • 88 Mike Clark
    A robustly imaginative sleeper
    • 90 Metascore
    • 88 Mike Clark
    A little movie almost perfectly realized.
    • 83 Metascore
    • 88 Mike Clark
    The gritty, Oscar-nominated "Traffic" is a limo ride compared with the bloodletting in this year's foreign-film nominee from Mexico.
    • 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
    • 78 Metascore
    • 88 Mike Clark
    Though the comedy is sometimes more frenetic than inspired and viewer emotions are rarely touched to any notable degree, the movie is as visually inventive as its Pixar predecessors.
    • 64 Metascore
    • 88 Mike Clark
    Rock actually rocks out as one of the year's most purely entertaining movies (just keep thinking: Bill Murray as a ventriloquist).
    • USA Today
    • 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
    • 73 Metascore
    • 88 Mike Clark
    In a watershed year for black filmmakers, Singleton has made the punchiest feature debut in recent memory. Those who complain that Lee's characters tangle up his plots will savor Singleton's flawlessly crafted edges. [12 July 1991]
    • USA Today
    • 82 Metascore
    • 88 Mike Clark
    It's the actor/director's best movie - and the best Western by anybody in over 20 years. [7 Aug 1992]
    • USA Today
    • 57 Metascore
    • 88 Mike Clark
    Sexy, snotty, vulnerable and above all contentious, she's (Winslet) the catalyst in a movie that creates more man-woman electricity than any other movie this year.
    • USA Today
    • 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.
    • 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

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