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 4.2 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
    • 70 Metascore
    • 88 Mike Clark
    This is a filmmaker who instinctively knows that a shot of Santa sitting at a bar as Ricky Nelson sings Jingle Bells will be no-frills funny.
    • 77 Metascore
    • 88 Mike Clark
    The rap sequences are shot and edited with the excitement of a crisply broadcast sporting event, which in a way they are.
    • 72 Metascore
    • 88 Mike Clark
    If Martin Scorsese's staggeringly ambitious one-of-a-kind finally has too many flaws to be great, it has as much greatness in it as any movie this year.
    • 82 Metascore
    • 88 Mike Clark
    Doesn't sound like a very prepossessing title, but prepare to be taken aback by "what's in a name." [6 July 1994, Life, p.1D]
    • USA Today
    • 81 Metascore
    • 88 Mike Clark
    Here's an ''opened-up'' film of a fragile, sentimental play that doesn't overemphasize every dramatic point, and doesn't tromp on every minefield in the material. [13 Dec 1989, p.1D]
    • USA Today
    • 60 Metascore
    • 88 Mike Clark
    Filmmakers of Bernardo Bertolucci's magnitude don't often take on sexual coming-of-age movies, but judging from the pleasures of Stealing Beauty, maybe more of them should. [14 Jun 1996 Pg.04.D]
    • USA Today
    • 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.
    • 68 Metascore
    • 88 Mike Clark
    Blisteringly fast, Bourne also has a strong or striking supporting actor around every corner: Chris Cooper, Brian Cox, Julia Stiles and Clive Owen in roles that range from meaty to amazingly small.
    • 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.
    • 70 Metascore
    • 88 Mike Clark
    Damon convincingly matches Williams recrimination for recrimination in this portrayal of mutual tough love, even with the latter giving what may be the best performance of his career.
    • 73 Metascore
    • 88 Mike Clark
    You get the sense that there's probably more to the story than you get here. But the movie's moral will soon be indelible: You just can't fake it in the Internet age.
    • 89 Metascore
    • 88 Mike Clark
    Romantic comedies with two low-key leads can be asking for trouble, but one senses that the actors must have clicked on some fundamental level.
    • 69 Metascore
    • 88 Mike Clark
    Bill re-establishes that Tarantino ranks with "Boogie Nights'" Paul Thomas Anderson as one of the few Hollywood filmmakers of the past 25 years with the stuff to win a lifetime achievement award.
    • 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
    • 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
    • 53 Metascore
    • 88 Mike Clark
    As for the breathless 45-minute climax, no screen fantasy adventure in memory can match the showmanship.
    • 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.
    • 88 Metascore
    • 88 Mike Clark
    Sweet (maybe) - but also painful (for sure). So painful that it's initially easy to resist this slice-of-Middlesex-life from Brit director Mike Leigh. Yet gradually, a mom, a dad and late-teen twins prove overwhelmingly winning through sheer willpower. Theirs, and the willpower of an idiosyncratic filmmaker who loves his characters no matter what. [24 Dec. 1991, p.4D]
    • USA Today
    • 83 Metascore
    • 88 Mike Clark
    Welcome to the Dollhouse does, with accessible dark comedy and chilling honesty, reminding us right off that school-cafeteria agonies only begin with the cuisine. [24 May 1996 Pg.04.D]
    • USA Today
    • 59 Metascore
    • 88 Mike Clark
    A rousing state-of-the-art cartoon capped by an aerial-combat climax that, to its credit, isn't anti-climactic. [2 July 1996, p.D1]
    • USA Today
    • 79 Metascore
    • 88 Mike Clark
    Majidi tells his simple story with dazzling vision.
    • 79 Metascore
    • 88 Mike Clark
    Linney is a match for Neeson, and the only thing that might keep Lithgow from getting a supporting-Oscar nomination is the brevity of the part.
    • 60 Metascore
    • 88 Mike Clark
    This is the most enjoyable film of its type in recent memory.
    • 68 Metascore
    • 88 Mike Clark
    This is a very funny picture, though it's never burlesqued and is, in fact, occasionally poignant.
    • 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
    • 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
    • 88 Mike Clark
    A weeper poised to endure as one of the dominant independent features of the year.
    • 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.
    • 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

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