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 4.3 points higher than other critics. (0-100 point scale)

Mike Clark's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Hoop Dreams
Lowest review score: 12 Falling Down
Score distribution:
941 movie reviews
    • 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

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