For 692 reviews, this critic has graded:
  • 46% higher than the average critic
  • 2% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 2.6 points higher than other critics. (0-100 point scale)

Mike Scott's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Wild
Lowest review score: 20 That's My Boy
Score distribution:
  1. Negative: 46 out of 692
692 movie reviews
    • 65 Metascore
    • 75 Mike Scott
    It's sadly and tenderly honest -- and so are Hansard and Irglova, as they generously and matter-of-factly open up to the camera.
    • 61 Metascore
    • 75 Mike Scott
    Among them, Polanski's four-person cast boasts four Oscars and eight more nominations, so these are big-league actors who are capable of carrying a film such as this through its occasional miscalculations.
    • 60 Metascore
    • 75 Mike Scott
    It's his film's metamorphosis into something else -- something every bit as dark, and every bit as intriguing -- that will keep viewers planted in their seats, and, at times, perched on the edges of them.
    • 52 Metascore
    • 75 Mike Scott
    A gritty spy thriller directed by relative newcomer Daniel Espinosa, and a film that -- despite the occasional misstep -- ends up being a taut, suspense-filled ride.
    • 62 Metascore
    • 75 Mike Scott
    The whole thing is such a rare visual treat -- such a tres magnifique cinematic spectacle -- that those flaws are easy to overlook. Jeunet's film is hard to resist.
    • 75 Metascore
    • 75 Mike Scott
    Sprinkled throughout, there is also a handful of wonderfully amusing song-and-dance numbers, written by Bret McKenzie.
    • 86 Metascore
    • 75 Mike Scott
    It is a thoughtful film, a serious one, and one that is sneakily affecting.
    • 63 Metascore
    • 75 Mike Scott
    Cera exudes a geeky charm and tender vulnerability that's hard to resist -- probably because he's far easier to relate to for most of us than we'd like to admit.
    • 57 Metascore
    • 75 Mike Scott
    The result: a fun and sweet romantic comedy that lands comfortably on the smart side of vacant, along the way offering a pleasant and satisfying holiday diversion for the grown-ups in the room.
    • 78 Metascore
    • 75 Mike Scott
    A dramatic comedy that is light on plot but generous in spirit, a leisurely, understated film that underscores the ever-present modern guilt while -- oddly, given the weightiness of that central conceit -- boasting a satisfying buoyancy.
    • 69 Metascore
    • 75 Mike Scott
    This is a world where training wheels are called "stabilizers" and where children leave something called "mince pies" for Santa. (Um. Ew?) As a result, the occasional line will fly over your little ones' heads. But you can also expect for them to be charmed by it all.
    • 68 Metascore
    • 75 Mike Scott
    Being a fan of the character is not a prerequisite for enjoying the film.
    • 71 Metascore
    • 75 Mike Scott
    In reality, in this age of cookie-cutter entertainment, the movie's success probably is because of Cody's unconventional script. This isn't a silly, disposable, rom-com -- and thank goodness for that.
    • 71 Metascore
    • 75 Mike Scott
    It's provocative stuff, and The Yes Men approach it with a wicked sense of humor.
    • 57 Metascore
    • 75 Mike Scott
    Gets considerable gas from the fact that Bateman, Sudeikis and Day so convincingly play three idiotic pals. The real fun, though, is in the fantastic supporting cast.
    • 69 Metascore
    • 75 Mike Scott
    A refreshingly original take on the comic book adaptation.
    • 69 Metascore
    • 75 Mike Scott
    The result is a movie that is about as riveting as -- well, as your average Robert Novak column.
    • 79 Metascore
    • 75 Mike Scott
    Arriving with a savage grace, director Darren Aronofsky's nightmare-come-to-life Black Swan cements his reputation not only as one of the more daring filmmakers of his generation, but also as an actor's director of the first order.
    • 59 Metascore
    • 75 Mike Scott
    Ends up being a reasonably gripping story of political intrigue, international corruption and one woman's determined fight for justice.
    • 79 Metascore
    • 75 Mike Scott
    A punch-drunk tale whose fitful ramble from Jerry Springer-style family seaminess to "Rocky"-like triumph is elevated enormously by knockout performances.
    • 70 Metascore
    • 75 Mike Scott
    Brilliant in its simplicity, as he turns the floor over to the three masters with this simple instruction: The guitar. Discuss.
    • 73 Metascore
    • 75 Mike Scott
    Only one of a number of recent immigrant tales to hit theaters, but with its blend of sweet humor and topical relevance, it's one of the more compelling -- and surprising -- in some time.
    • 72 Metascore
    • 75 Mike Scott
    McGlynn's film clocks in at just a shade under two hours, which normally would be a little long for a documentary. In this case, the length not only is warranted but welcomed.
    • 54 Metascore
    • 75 Mike Scott
    What it lacks in style, however, it more than makes up for in substance, as Shearer -- as smart as he is funny -- has assembled a vital and admirably accessible post-mortem on Hurricane Katrina.
    • 65 Metascore
    • 75 Mike Scott
    The movie is quietly affecting, as Rush offers a moving and rewarding yarn about the need to move on in the face of personal tragedy, and about the strength of human connections.
    • 68 Metascore
    • 75 Mike Scott
    Boasting a rock-solid academic architecture, Bhutto is a film bursting at the seams with gravitas.
    • 75 Metascore
    • 75 Mike Scott
    The kind of indie gem that doesn't come around nearly often enough -- and, when they do, often not enough people go to see them.
    • 68 Metascore
    • 75 Mike Scott
    The engine that really makes Crazy Stupid Love go is the same one that has made Ficarra and Requa's films to this point so appealing: While they thrust their characters into outrageous situations, they always keep things grounded in real, relatable emotion.
    • 69 Metascore
    • 75 Mike Scott
    There are moments when the freak-show elements of the film threaten to overpower its message, but that message is such a fascinating one -- and the debate an important one as well -- that The Elephant in the Living Room manages to overcome them.
    • 85 Metascore
    • 75 Mike Scott
    All in all, Nichols ends up with a richly drawn, and at times disturbing, portrait of one man's descent into madness.
    • 34 Metascore
    • 75 Mike Scott
    Manages to overcome its flaws and become a charming love letter to love itself -- and a pitch-perfect V-Day date film to boot.
    • 68 Metascore
    • 75 Mike Scott
    The whole thing is kind of comforting in a damn-the-torpedoes, laugh-at-what-scares-you-most kind of way.
    • 66 Metascore
    • 75 Mike Scott
    If you're a mom or dad bringing your own little primates to the movie, that's a good thing.
    • 55 Metascore
    • 75 Mike Scott
    Tony Scott pushes all the right buttons, crafting a worthy -- and in many ways, a superior -- update.
    • 50 Metascore
    • 75 Mike Scott
    Without the fantastic performances from Gandolfini, Stewart and Leo, it wouldn't hold together nearly as well as it does.
    • 62 Metascore
    • 75 Mike Scott
    Their story, as told by Pooley, also is a touching and quietly meaningful one, built around themes of tolerance, self-acceptance and unconditional love.
    • 47 Metascore
    • 75 Mike Scott
    The fact that there are so many good comic bits here allowed Kasdan to assemble a great comic cast.
    • 60 Metascore
    • 75 Mike Scott
    The Beaver also has a tendency to slip around as it finds its footing. But then the powerful third act comes and Foster, with Gibson's help, hits it home.
    • 67 Metascore
    • 75 Mike Scott
    An up-tempo and upbeat concert documentary that celebrates, rather than mourns, the last hurrah of a pop-culture touchstone.
    • 66 Metascore
    • 75 Mike Scott
    Spurlock banks on his charm and likability -- and it's that charm and likability that make The Greatest Movie Ever Sold so much fun to watch.
    • 66 Metascore
    • 75 Mike Scott
    The result is a movie that, in its best moments, is delightful. It does lose a significant amount of steam halfway through -- likely due in part to its two hours of running time.
    • 51 Metascore
    • 75 Mike Scott
    It's hard to resist the pairing of such talented actors as Robert Downey Jr. and Zack Galifianakis - and they prove why here. They are funny guys, both of whom make the most of the material.
    • 64 Metascore
    • 75 Mike Scott
    As engrossing as The Young Victoria is, this isn't a movie that will stay with you very long. Mostly that's because Blunt's character does little by way of evolving.
    • 60 Metascore
    • 75 Mike Scott
    RED
    RED is so much fun -- and its Over the Hill Gang so likeable -- that this is one of those rare cases where I wouldn't mind seeing them come out of retirement again for another romp.
    • 69 Metascore
    • 75 Mike Scott
    Never Let Me Go isn't the kind of movie you talk about on the drive home -- it's even better. It's the kind that makes you sit quietly and think, rolling it around in your head and considering the angles.
    • 83 Metascore
    • 75 Mike Scott
    Even though it's right there in the title, "fantastic" might be a touch hyperbolic in describing director Wes Anderson's stop-motion adaptation of Roald Dahl's The Fantastic Mr. Fox, but only by a whisker.
    • 55 Metascore
    • 75 Mike Scott
    Before it gives itself a chance to deliver on that promise, however, it morphs into something different -- something often resembling a soap opera, just with prettier sets and less-passionate smooching.
    • 71 Metascore
    • 75 Mike Scott
    Just as key to the movie's impact are its well-acted scenes of heart-wrenching emotion, although some stray perilously close to melodrama.
    • 69 Metascore
    • 75 Mike Scott
    Oddly, though, Everyday Sunshine ends up being a mostly optimistic tale. That's because, despite it all, Fishbone is still gigging.
    • 75 Metascore
    • 75 Mike Scott
    The Art of the Steal is activist filmmaking, but it's well-done activist filmmaking. And, given that the Barnes fight isn't quite yet over, it could also become the most most important kind of filmmaking: the kind that makes a difference.
    • 56 Metascore
    • 70 Mike Scott
    Most of all, though, there's the story itself, which was already pretty quirky -- and amazing -- even before Oscar-nominated screenwriter Thomas McCarthy ("Up") put pen to paper for director Craig Gillespe's film.
    • 27 Metascore
    • 63 Mike Scott
    Although they've left the city behind, the girls haven't forgotten the sex. They're still as frank as ever, as outrageous as ever, as liberated as ever.
    • 45 Metascore
    • 63 Mike Scott
    As it turns out, though, the most troubling part of the film for me wasn't the rape scene, or the siege scene or the Southern stereotypes. Rather, it was the audience's reaction to Marsden's chilling spasms of bloody violence as he defends his home. Rather than breaking out in hives, many in the audience broke out in laughter.
    • 64 Metascore
    • 63 Mike Scott
    It's not a perfect film, mind you. It's too long by a quarter, and actor-turned-director Charles Martin Smith ("The Untouchables") lets any sense of real structure slip away in the film's crowded third act.
    • 57 Metascore
    • 63 Mike Scott
    Along the way, Shut Up, Little Man boasts nice technical elements. And it is, admittedly, amusing to a degree. Peter and Raymond certainly know how to turn a phrase. But things begin to wear thin about halfway through.
    • 50 Metascore
    • 63 Mike Scott
    The Lottery Ticket doesn't hit the comedy jackpot, but it doesn't roll snake eyes, either. In my book, that's a winner.
    • 70 Metascore
    • 63 Mike Scott
    There's plenty of melodrama, plenty of whispered intensity, plenty of dramatic pauses in his story. There also are a few bizarro -- and, in some cases, unnecessary -- detours. But when it's all said and done, there's no real call for any emotional investment on the part of his audience.
    • 79 Metascore
    • 63 Mike Scott
    The only thing missing from the film -- which is frequently amusing but too bleak to be consistently laugh-out-loud funny -- is a genuine connection with its audiences, or at least those audiences not raised in 1960s Jewish suburbia.
    • 61 Metascore
    • 63 Mike Scott
    A reasonably well-made biopic, with crowd-pleasing moments, but one that -- despite that title -- isn't really about the animal.
    • 64 Metascore
    • 63 Mike Scott
    What most saw as entirely charming behavior others saw as a nuisance. After all, a playful whale has a way of unwittingly damaging rudders and outriggers and outboard motors and such. Worse, wildlife officials saw Luna's behavior as potentially dangerous, for the people he encountered -- and for the whale himself.
    • 51 Metascore
    • 63 Mike Scott
    There's no point mincing words: My Sister's Keeper is a difficult film to watch. That's not to say it isn't well-assembled, well-cast or well-acted.
    • 65 Metascore
    • 63 Mike Scott
    For her part, Stewart has Jett down pat: her strut, her slouch, her sexiness. This is a performance that goes far beyond Jett's shag haircut.
    • 58 Metascore
    • 63 Mike Scott
    Plotwise, though, Brewer's Footloose is anything but loose. In fact, it's rigidly loyal to the original, to the point of slavishness.
    • 49 Metascore
    • 63 Mike Scott
    The actors never stray too far from their comfort zones, resulting in a sporadically funny but mostly bland crime comedy that only occasionally feels fresher or more memorable than that cold pizza you scarfed for breakfast Monday morning.
    • 76 Metascore
    • 63 Mike Scott
    It continuously feels less like straight-up reportage and more like a fan film, one built on equal parts idol worship and wishful thinking.
    • 57 Metascore
    • 63 Mike Scott
    Ritchie and company spend too much time being cute and not enough time being clever, resulting in a one-dimensional comic-book version of Doyle's detectives.
    • 59 Metascore
    • 63 Mike Scott
    So while J. Edgar ends up feeling like a mostly complete portrait of the man, and as fascinating a story as it is, it still falls just short of being something entirely memorable.
    • 58 Metascore
    • 63 Mike Scott
    Worse, Shrek Forever After feels like just another animated movie -- which is exactly what the series was fighting against when it started, and a big reason why it caught on with audiences.
    • 85 Metascore
    • 63 Mike Scott
    All of the pieces fall into place by the third act -- or most of them, anyway. But Tinker, Tailor, Soldier, Spy is such a cold, unemotional film that getting there is a chore, muting the payoff.
    • 85 Metascore
    • 63 Mike Scott
    If you appreciate historical melodrama, you could do worse than Vincere.
    • 76 Metascore
    • 63 Mike Scott
    The quietly moving drama Martha Marcy May Marlene must be thought of as an "arrival" film. That is, for all that it has going for it (and, it must be said, against it), if it is remembered for anything it will be for introducing a 22-year-old newcomer named Elizabeth Olsen.
    • 59 Metascore
    • 63 Mike Scott
    Burger's film would have been better had he ended it about three minutes earlier than he does -- a move that would have given his movie at least a dash of profundity.
    • 70 Metascore
    • 63 Mike Scott
    It's a decent comedy, mind you, one with its fair share of chuckles. But it's really more amusing than it is fall-out-of-your-seat funny.
    • 80 Metascore
    • 63 Mike Scott
    This is a film custom-made for dog lovers.
    • 43 Metascore
    • 63 Mike Scott
    Trades breathless romance for a fun "Ripley's Believe it or Not"-flavored weirdness.
    • 63 Metascore
    • 63 Mike Scott
    Michelle Pfeiffer's performance brings life to a sometimes sagging script. Also, Kathy Bates is a hoot as the mother of Pfeiffer's love interest.
    • 41 Metascore
    • 63 Mike Scott
    Breezy but forgettable.
    • 48 Metascore
    • 63 Mike Scott
    A movie that wants to be a crowd-pleasing romantic comedy at times and a weighty drama at others. It ends up being an imperfect blend of both.
    • 65 Metascore
    • 63 Mike Scott
    What Noyce and company don't seem to realize is that there's a huge difference between a superspy and a superhuman.
    • 45 Metascore
    • 63 Mike Scott
    It's a nice, feel-good story with an appealing cast and strong production values.
    • 41 Metascore
    • 63 Mike Scott
    Hop
    A slick and sweet film all on its own, a harmless bit of fun that fills the Easter-movie void.
    • 50 Metascore
    • 63 Mike Scott
    Despite the derivative nature and low production values of Super, there are laughs in the at-times ragged script.
    • 33 Metascore
    • 63 Mike Scott
    Fortunately, there's enough charisma in those doe eyes -- to narrowly rescue the featherweight Leap Year from becoming a full-blown case of Erin-go-blah.
    • 60 Metascore
    • 63 Mike Scott
    9
    9, though animated, isn't really a movie for kids. The problem is that, despite its strikingly original set-up and its cool steampunk visual vibe, it's not much of a movie for grown-ups, either.
    • 55 Metascore
    • 63 Mike Scott
    Director Martin Campbell does a nice job of creating suspense, and Ray Winstone stands out for his performance as a conflicted hitman.
    • 65 Metascore
    • 63 Mike Scott
    There are some nice surprises in store, as well, but the longer Madden's story goes on, the more manufactured things tend to feel.
    • 65 Metascore
    • 63 Mike Scott
    It represents the rare lead role for Mackie, and he seizes the opportunity, convincingly playing the part of a soft-spoken former Black Panther.
    • 82 Metascore
    • 63 Mike Scott
    A beautifully uncomplicated story, really -- about the love between daddies and their little girls.
    • 56 Metascore
    • 63 Mike Scott
    Intermittently interesting, but well-intentioned, it almost makes up for "The Tourist."
    • 75 Metascore
    • 63 Mike Scott
    So what is Bridesmaids? A boozy wedding comedy? A touching character story? A paean to friendship? At turns, it's each -- making it a wedding movie with a commitment problem and giving Feig's scattered film a rudderless quality between the laugh lines.
    • 61 Metascore
    • 63 Mike Scott
    With its immensely likable cast elevating the material, Judge extracts just enough ironic chuckles to rescue the movie from being written off as an assembly-line comedy.
    • 46 Metascore
    • 63 Mike Scott
    That's not to say it's a bad film, necessarily. It's just not as good as it could have -- and should have -- been.
    • 64 Metascore
    • 63 Mike Scott
    As with most Ferrell projects, there's nothing profound going on in The Other Guys. It's just a bit of good, stupid fun, had at the expense of an uber-formulaic genre that has long been ripe for the spoofing. But it also works.
    • 54 Metascore
    • 63 Mike Scott
    Twenty-five years ago, it would have been impossible to imagine that Imagine That would see Eddie Murphy and The Beatles coming together to create family entertainment, but I'll be darned if it doesn't work.
    • 50 Metascore
    • 63 Mike Scott
    A predictable but painless pastiche of high school drama clichés that will give its intended tween audience a lot to squeal about -- and leave their parents reminiscing quietly about how good films from '80s icon John Hughes were.
    • 43 Metascore
    • 63 Mike Scott
    This isn't the kind of film that will leave audiences in awe of clever writing. Rather, it will leave them thinking how much Fuqua wanted to make a movie version of "The Wire."
    • 53 Metascore
    • 63 Mike Scott
    A satisfying dose of wild imagination and unbridled silliness.
    • 73 Metascore
    • 63 Mike Scott
    The result is an often-screwball jaunt that isn't without its fun moments.
    • 56 Metascore
    • 63 Mike Scott
    These characters are so likeable, and so well-portrayed, that it's easy to go along with it all.
    • 47 Metascore
    • 63 Mike Scott
    As clearly calculated and self-consciously cutesy as it is, it's also tender and meaningful stuff -- and far more watchable than other recent attempts to capture the existential angst of adolescence. ("The Art of Getting By.")

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