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 A History of Violence
Lowest review score: 12 Jawbreaker
Score distribution:
942 movie reviews
    • 86 Metascore
    • 100 Mike Clark
    The best news the G rating has had since the ratings system was instituted in 1968.
    • 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
    • 78 Metascore
    • 100 Mike Clark
    A contender for the year's best film.
    • 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
    • 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
    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.
    • 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
    • 74 Metascore
    • 100 Mike Clark
    His (Cameron) movie may not be perfect, but visually and viscerally, it pretty well is.
    • 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.
    • 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
    • 89 Metascore
    • 100 Mike Clark
    Great cinema - and also a whopping good time. [19 September 1990, Life, p.1D]
    • 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
    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.
    • 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
    • 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.
    • 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.
    • 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
    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
    • 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.
    • 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.
    • 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
    • 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