For 949 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 2.8 points higher than other critics. (0-100 point scale)

Mike Clark's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Cinderella Man
Lowest review score: 12 Mixed Nuts
Score distribution:
949 movie reviews
    • 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.
    • 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."
    • 87 Metascore
    • 63 Mike Clark
    Mothers definitely get their due here: Birth mothers, adoptive mothers and mothers-to-be - with the only men in sight (save for one young fatality and one old eccentric) being those who wear flashy makeup and sport breasts
    • USA Today
    • 87 Metascore
    • 88 Mike Clark
    The big story here is Kristin Scott Thomas' captivating performance.
    • 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
    • 86 Metascore
    • 88 Mike Clark
    Not since Tuesday Weld in "Pretty Poison" has an actress so played off her fresh-faced beauty for such pointed black-comic effect.
    • 86 Metascore
    • 100 Mike Clark
    The best news the G rating has had since the ratings system was instituted in 1968.
    • 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
    • 88 Mike Clark
    A weeper poised to endure as one of the dominant independent features of the year.
    • USA Today
    • 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
    • 88 Mike Clark
    Fury, I Am a Fugitive, Wild Boys of the Road and Emperor of the North come immediately to mind as definitive Depression movies. This little gem, which may get overlooked, deserves to be on the same list. [20 August 1993, p.5D]
    • USA Today
    • 86 Metascore
    • 88 Mike Clark
    Bedroom succeeds with performances that get some of their power from imaginative casting.
    • 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
    • 86 Metascore
    • 63 Mike Clark
    More than anything, The Grifters isn't dramatically shot; black-and-white would have made a huge difference. [5 Dec 1990]
    • USA Today
    • 86 Metascore
    • 75 Mike Clark
    The story itself is surprisingly seamless, yet it's the individual components that linger.
    • 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
    • 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."
    • 85 Metascore
    • 75 Mike Clark
    Plays like a labor of love.
    • 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.
    • 85 Metascore
    • 50 Mike Clark
    A stylistically fastidious, exasperatingly affected package that will put most people in the mood for slumber.
    • 85 Metascore
    • 75 Mike Clark
    Lean, mean and mordant black comedy.
    • 85 Metascore
    • 88 Mike Clark
    Nicholson has at least three magnificent moments in Hour 2. The best is a wedding toast that comes after another that will painfully remind you of every banal wedding toast you've ever heard.
    • 85 Metascore
    • 63 Mike Clark
    A movie just good enough to keep nurturing rooting interest as you watch it.
    • 84 Metascore
    • 88 Mike Clark
    This thorough original is a wall-to-wall exercise in gallows humor, a movie whose full funny/sad effect doesn't hit until you reflect upon the subject and the cast of characters.
    • USA Today
    • 84 Metascore
    • 88 Mike Clark
    The result is almost enough to make an audience levitate.
    • 84 Metascore
    • 88 Mike Clark
    Every movie year has one, and now it's Britain's Mike Leigh who's conjured up the professional reviewer's worst nightmare: the picture so original, well-acted and witty that it must be given its ample due - despite being heavy on components guaranteed to bum out all but the most frequent moviegoers. [23 Dec. 1993, p.5D]
    • USA Today
    • 84 Metascore
    • 88 Mike Clark
    News is right, completely right, until it slips just a bit at the end.By that time it hardly matters because you've seen the best of the holiday films, as well as the most all-around entertaining movie of 1987 - a bittersweet media comedy-drama that surpasses its potential. [16 Dec 1987, p.1D]
    • USA Today
    • 84 Metascore
    • 75 Mike Clark
    Land has a lot of funny moments, which are no less serious for being so, especially when the script turns politically prickly.
    • 84 Metascore
    • 75 Mike Clark
    Glossy or not, the movie is unflinchingly tough-minded, down to its Hollywood-weepy ending, which, if you think about it, may be the year's gloomiest.
    • 84 Metascore
    • 50 Mike Clark
    But the film's emotional core is father-son reconciliation, and Pete Postlethwaite is very sympathetic as Dad. [29 Dec 1993 Pg. 01.D]
    • USA Today

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