For 824 reviews, this critic has graded:
  • 44% higher than the average critic
  • 2% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 0.3 points higher than other critics. (0-100 point scale)

Mike Scott's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Restrepo
Lowest review score: 20 For a Good Time, Call...
Score distribution:
  1. Negative: 51 out of 824
824 movie reviews
    • 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.")
    • 50 Metascore
    • 63 Mike Scott
    I've got a fourth verb to add to the comma-challenged title of Julia Roberts' how-to-be-happy travelogue, Eat Pray Love. How about "edit"?
    • 80 Metascore
    • 63 Mike Scott
    It boasts strong acting and a nice dose of suspense.
    • 56 Metascore
    • 63 Mike Scott
    Getting two biographies on the same person in such a short window is unusual. What's even more unusual is that both suffer from the same flaw.
    • 61 Metascore
    • 63 Mike Scott
    What Kwapis does do, however, is nicely handle the film's whale of an emotional payoff.
    • 72 Metascore
    • 63 Mike Scott
    It's easy to be interested in the characters' lives -- as tragic as they are -- but it's not nearly as easy to become emotionally invested in them.
    • 81 Metascore
    • 63 Mike Scott
    Don't expect there to be a run on Secret of Kells action figures any time soon.
    • 62 Metascore
    • 63 Mike Scott
    If there's a prevailing problem with director Richard Loncraine's bit of period fluff, it's that many of the characters encountered along the way are a touch too cartoonish to resonate meaningfully with audiences.
    • 56 Metascore
    • 63 Mike Scott
    One major reason it succeeds is because of 11-year-old actress Bailee Madison, who brings a wonderful believability to her role as the girl at the center of the film.
    • 46 Metascore
    • 63 Mike Scott
    All along, though, I was struck by an even stronger feeling, that I was sitting in on somebody else's therapy session. That's not a comfortable feeling -- and that makes Extremely Loud & Incredibly Close considerably less rewarding than it should be.
    • 46 Metascore
    • 63 Mike Scott
    How do you know when a romantic comedy just isn't working? Key indicators are that your audience doesn't get goose bumps in the inevitable third-act reunion. They don't get misty-eyed. In short, they don't really care.
    • 51 Metascore
    • 63 Mike Scott
    What we're left with is a movie that is about as nourishing as the Junior Mints and nachos available at the theater snack bar. But, then, many a Friday night dinner has been made of far less.
    • 67 Metascore
    • 63 Mike Scott
    There isn't a whole lot of nuance in writer-director Rachid Bouchareb's unapologetically political movie. As such, it doesn't take much brainpower for a viewer to stay a step or two ahead of his plot the entire way.
    • 70 Metascore
    • 63 Mike Scott
    These women deserve to have their voices heard, and this film finally lets them have their say.
    • 72 Metascore
    • 63 Mike Scott
    Leisurely paced and plot-challenged, it's too unique and kindhearted to be outright disliked, but it's not the kind of film you can get too close to, either.
    • 42 Metascore
    • 63 Mike Scott
    Once the real story hits its stride, it's easy to get lost in Sanctum.
    • 45 Metascore
    • 63 Mike Scott
    Best of all, here there be fun.
    • 59 Metascore
    • 63 Mike Scott
    It's a fun one to talk about -- if only for the opportunity to shake your head in amused disbelief at what you just saw.
    • 50 Metascore
    • 63 Mike Scott
    A film that is neither great nor horrible. Favreau does enough things right in Cowboys & Aliens to churn out a mostly enjoyable bit of mindless summertime action, just not enough to come close to rivaling his 2008 crowd-pleaser "Iron Man."
    • 56 Metascore
    • 63 Mike Scott
    It's probably best not to think very hard about any of it -- just dummy up and laugh along.
    • 46 Metascore
    • 63 Mike Scott
    As fun as it is at times -- particularly early on -- the longer The Sorcerer's Apprentice goes on, the more the magic wears off.
    • 68 Metascore
    • 63 Mike Scott
    Potiche never becomes funny enough or interesting enough.
    • 68 Metascore
    • 63 Mike Scott
    The result is a film that is equal parts fluff and tough.
    • 76 Metascore
    • 63 Mike Scott
    There's humor there, but this is a "smart" comedy, which is to say it's not intended to make you guffaw.
    • 65 Metascore
    • 63 Mike Scott
    What it does have going for it are its lead actors -- Brand and Hill both know exactly how to deliver a punch line -- and a lead character who represents one of the best bits of rock 'n' roll satire since "This Is Spinal Tap."
    • 48 Metascore
    • 63 Mike Scott
    If it weren't for the casting of Sandra Bullock and Ryan Reynolds in the lead roles, the film probably would have gone straight to DVD.
    • 58 Metascore
    • 63 Mike Scott
    There's an overly episodic feel to it all, as Curtis and company seem happy merely to float along from gag to gag.
    • 50 Metascore
    • 63 Mike Scott
    A surprisingly entertaining movie on its own, a strap-yourself-in, suspend-your-disbelief summer popcorn adventure.
    • 54 Metascore
    • 63 Mike Scott
    Between its ridiculous setup and its hard-to-care-about ending, McDonald still manages to craft an engaging suspense film that -- when you're not scratching your head in puzzlement -- will have you on the edge of your seat.
    • 83 Metascore
    • 63 Mike Scott
    Even if the obligatory third-act twist arrives with all the subtlety of the Four Horsemen of the Apocalypse, Drag Me to Hell otherwise steers mostly clear of predictability.
    • 54 Metascore
    • 60 Mike Scott
    Director David Bowers' story is straightforwardly -- almost unimaginatively -- approached. But, armed with a talented cast and Kinney's chuckle-generating source material, it functions nicely as a sort of big-screen "Wonder Years" for Millennials.
    • 59 Metascore
    • 60 Mike Scott
    A bronto-sized slice of big-screen entertainment buoyed by dazzling visual effects and intense action, and a film that plays like part adventure movie, part monster movie and part thrill ride.
    • 57 Metascore
    • 60 Mike Scott
    There's a soothing catharsis in the idea that good guys are every bit as capable as bad guys of raining hellfire down on their enemies.
    • 57 Metascore
    • 60 Mike Scott
    Ends up being an enjoyable, if only marginally memorable, ride.
    • 50 Metascore
    • 60 Mike Scott
    Hit and Run achieves its chief goal: to put the pedal to the metal for some good, goofy fun, squealing the tires as often as possible along the way.
    • 61 Metascore
    • 60 Mike Scott
    Boxtrolls stands reasonably well on its own, as a cool steampunk fairy-tale that serves as yet another testament to the artistry of the folks at Laika.
    • 27 Metascore
    • 60 Mike Scott
    Pixels is a slice of pure, frivolous entertainment that doesn't try to overreach.
    • 74 Metascore
    • 60 Mike Scott
    Still, there's more here to like than to dislike in what ends up being a feel-good movie about a feel-bad topic, a la "Little Miss Sunshine."
    • 50 Metascore
    • 60 Mike Scott
    A sleight-of-hand heist film that feels like a cross between David Blaine and "Ocean's Eleven," with a little Robin Hood thrown in, it's a ripping bit of fun. If, that is, you let it be.
    • 68 Metascore
    • 60 Mike Scott
    The result is a hoot, as Nelson breathes comic life into the proceedings with an effortless, unselfconscious joie de vivre.
    • 40 Metascore
    • 60 Mike Scott
    When it comes down to it, there's one overriding factor that lessens the impact of the film's numerous stumbles, and that's this: It's just plain entertaining to see all these warped characters, and all these well-cast actors, bouncing off of one another, interacting with one another, and creating a barely controlled chaos.
    • 81 Metascore
    • 60 Mike Scott
    Starred Up isn't just violence for violence's sake. Rather, it is a surprisingly layered, hard-hitting human drama, one that cuts to the bone -- albeit with a homemade prison knife.
    • 59 Metascore
    • 60 Mike Scott
    As glossy and well-produced as Unbroken is, it doesn't stray too terribly far from Hollywood convention. In fact, its very story structure is so traditional that it's mirrored by Clint Eastwood's "American Sniper."
    • 62 Metascore
    • 60 Mike Scott
    An uneven but consistently compelling film that, with its roots in the horrors of World War II, generated no small amount of controversy in its native Poland when it was released there in 2012.
    • 80 Metascore
    • 60 Mike Scott
    That's some admirably mature stuff for a kid's flick in this day of rampant pandering, but it also helps rob the film of a certain breathless, edge-of-your-seat appeal. In other words, there are lulls here.
    • 75 Metascore
    • 60 Mike Scott
    With all of its excess, Wolf of Wall Street might not rank up there with Scorsese's best, it sure has fun trying.
    • 75 Metascore
    • 60 Mike Scott
    Spy
    Spy boasts tons of the type of low-humor that fuel so many Seth Rogen and Will Ferrell frat-boy movies. The difference here is that the laughs aren't at the expense of the fat kid. By the time the closing credits roll, McCarthy's character been built up, not torn down -- and we're rooting for her, not guffawing at her.
    • 71 Metascore
    • 60 Mike Scott
    There are movies based on real events that must be embellished in order to make them work on the big screen. Mel Gibson's World War II drama Hacksaw Ridge is not such a movie. In fact, it's the opposite.
    • 78 Metascore
    • 60 Mike Scott
    Doesn't rise as much as it flounders and frustrates, in what would appear to be a case of a filmmaker prioritizing ego over efficiency, and engaging in generally muddled storytelling.
    • 50 Metascore
    • 60 Mike Scott
    While Nourizadeh's just-for-fun head trip is no more ambitious than its long-haired pothead of a main character, it delivers on its sole goal: to entertain and to surprise.
    • 81 Metascore
    • 60 Mike Scott
    The sky is far from falling on the Bond franchise. In fact, it is as good as it has ever been. What's more, Craig is reportedly on board for at least two more outings, so Q had better get to work on those bifocals because 007 is no where near ready for retirement.
    • 49 Metascore
    • 60 Mike Scott
    Director Daniel Barnz's soft-play indie drama is a compassionate but emotionally raw film, one that traffics in such thoughtful ideas as personal redemption and emotional resurrection.
    • 49 Metascore
    • 60 Mike Scott
    Like the character at its center, Wein's film suffers from a certain sense of inertia, which is where Gerwig comes in.
    • 85 Metascore
    • 60 Mike Scott
    These characters are so compelling that their stories are easy to get caught up in. As with "A Separation," Farhadi's drama never strikes a resoundingly false note -- which is a precious thing in movies lately -- and as such is a film that promises moving rewards.
    • 63 Metascore
    • 60 Mike Scott
    It's a comfortable and tidily assembled story of human perseverance in the face of adversity. Which is yet another thing about which the Irish know a thing or two.
    • 75 Metascore
    • 60 Mike Scott
    In fact, "restraint" is the word that best characterizes DuVernay's film. This isn't a movie filled with overt action or outbursts of melodrama.
    • 60 Metascore
    • 60 Mike Scott
    The result is a feel-good, family-friendly trip film that promises drama, suspense, humor and -- in a rarity for sports dramas -- no small amount of modern relevance.
    • 75 Metascore
    • 60 Mike Scott
    Those who sit through its talky, belabored first half will be rewarded first and foremost with the finest fight scene of any "Avengers" film to date, one that doubles as a satisfyingly popcorny start to the summer season.
    • 39 Metascore
    • 60 Mike Scott
    Director Klay Hall's embraceable, overachieving romp plays nicely as a big-screen feature.
    • 78 Metascore
    • 60 Mike Scott
    It's a theme Mary Shelley brought us in "Frankenstein," which was first published in 1818. That was almost 200 years ago. And while Ex Machina replaces the stitches and neck bolts with gears and fiber-optics, it all feels an awful lot like the same story.
    • 72 Metascore
    • 60 Mike Scott
    It's not a film for everyone. Those who see it, however, will have trouble forgetting it.
    • 55 Metascore
    • 60 Mike Scott
    The ultimate goal of a film like this, of course, is to change minds. As compelling a case as it builds, Promised Land isn't quite persuasive enough to be able to promise to do that.
    • 53 Metascore
    • 60 Mike Scott
    The joy of Hysteria, like the joy of certain other things, isn't necessarily rooted in the element of surprise. Rather, it's in the pleasure of the path taken to get to that crescendo.
    • 40 Metascore
    • 60 Mike Scott
    So does the film succeed, overall? On some levels. But if all you want is a guilt-free, sci-fi summer pleasure, save your money and wait another week. The crew of the Enterprise is on its way.
    • 41 Metascore
    • 60 Mike Scott
    Some summer movies are big, woofing mastiffs. (Think "Battleship.") Others are naughty, nipping lapdogs. ("The Dictator.") Here, what we get is a calm, quiet basset hound. And, for the most part, it's a good dog.
    • 83 Metascore
    • 60 Mike Scott
    While Pina will undoubtedly be well-received by modern-dance devotees, it does little to take advantage of the enormous opportunity to open the door for newcomers.
    • 67 Metascore
    • 60 Mike Scott
    An enchantment, plain and simple. And while it won't make many forget Disney's iconic animated version, it certainly joins it as one of the more enjoyable re-tellings of this classic tale.
    • 59 Metascore
    • 60 Mike Scott
    That's a lot of storytelling going on, and it costs Battle of the Five Armies a certain cohesion.

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