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 Braveheart
Lowest review score: 12 Mixed Nuts
Score distribution:
942 movie reviews
    • 65 Metascore
    • 88 Mike Clark
    The movie grows on you, lingers in the mind and may pick up a cult. Take away Heat and Dust, Howards End and The Remains of the Day, and it's as satisfying as any movie the filmmaking team's ever made. [18 Sep 1998, Pg.03.E]
    • USA Today
    • 58 Metascore
    • 88 Mike Clark
    Hard Candy, a highly original psychological thriller/revenge fantasy, can be bitterly hard to take and uncomfortably intense, but it's well worth consuming.
    • 82 Metascore
    • 88 Mike Clark
    Who, though, would assume rambunctious humor would be served up as well? Dickens meets the Beverly Hillbillies, and the movie is handsome, too. [10 May 1996, p.4D]
    • 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
    • 69 Metascore
    • 88 Mike Clark
    So with its smart writing delivered by an in-synch quartet, savor Duplicity as the ideal spring gift.
    • 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
    • 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
    • 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
    • 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
    • 57 Metascore
    • 88 Mike Clark
    Though the music is helping market the movie, it's really an omnipresent backdrop to the two intersecting stories. Audibly and visibly, Kansas City nearly equals Ed Wood for period verisimilitude. Yet it's also character-driven, in particular by the women stars. [16 Aug 1996, p.4D]
    • USA Today
    • 39 Metascore
    • 75 Mike Clark
    The movie-calendar equivalent of last July's "Six Days, Seven Nights," this star-powered romance overcomes a shaky start to outpace that passable confection by several runaway laps.
    • USA Today
    • 72 Metascore
    • 75 Mike Clark
    Even when there are lulls, the emotions seem authentic.
    • 71 Metascore
    • 75 Mike Clark
    The movie wouldn't be imaginable without its commanding star. Nicholson is in virtually every scene underplaying to great effect
    • USA Today
    • 73 Metascore
    • 75 Mike Clark
    No situation could be more human, and it's one the youth-dominated film industry rarely touches.
    • 65 Metascore
    • 75 Mike Clark
    This also is the rare combat movie that deals substantially with mourning widows on the home front.
    • 50 Metascore
    • 75 Mike Clark
    It's fast, easy on the eyes, full of funny putdowns and cast well enough to have two memorable villains.
    • 52 Metascore
    • 75 Mike Clark
    Though there are helmets deeper than this movie, you do have to admire the level of screen showmanship .
    • USA Today
    • 77 Metascore
    • 75 Mike Clark
    This one looks like a sure bet for seven weeks (at least) of audience good fortune.
    • 51 Metascore
    • 75 Mike Clark
    The actress may get an Oscar nomination for the wrong movie -- "Moulin Rouge" over "The Others" -- but it would be a double misfortune for audiences to overlook a performance that boosts its movie from moderate to memorable.
    • 52 Metascore
    • 75 Mike Clark
    Consistently compelling without being truly memorable.
    • 38 Metascore
    • 75 Mike Clark
    When have we seen the same performer playing both parts in a sexual situation? It happens here, not once but twice.
    • 79 Metascore
    • 75 Mike Clark
    This smashingly filmed and performed one-shot is (uh, so to speak) the year's best romantic comedy. [8 Dec 1989]
    • USA Today
    • 69 Metascore
    • 75 Mike Clark
    A largely irresistible puff piece.
    • USA Today
    • 72 Metascore
    • 75 Mike Clark
    A chilly oddball that's easier to admire than love.
    • USA Today
    • 71 Metascore
    • 75 Mike Clark
    Aside from the "Nutty Professor," this is the funniest Murphy comedy since the Reagan Administration.
    • USA Today
    • 71 Metascore
    • 75 Mike Clark
    This movie doesn't make you think you are watching art. It's closer to a high-end TV movie with lots of familiar faces.
    • 75 Metascore
    • 75 Mike Clark
    A cautionary tale very well-told.
    • 85 Metascore
    • 75 Mike Clark
    Plays like a labor of love.
    • 56 Metascore
    • 75 Mike Clark
    The five stories in The Five Senses flawlessly and even artfully create a unified mood.
    • USA Today
    • 50 Metascore
    • 75 Mike Clark
    The pace is fast, many of the performers are attractive, and even the end-credits montage is zippier than usual.