For 586 reviews, this critic has graded:
  • 49% higher than the average critic
  • 2% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 3.8 points higher than other critics. (0-100 point scale)

Mike Scott's Scores

  • Movies
Average review score: 63
Highest review score: 100 Restrepo
Lowest review score: 20 Emperor
Score distribution:
  1. Negative: 41 out of 586
586 movie reviews
    • 56 Metascore
    • 60 Mike Scott
    It keeps you guessing, it keeps the tension ratcheted up, and it offers a dose of breathless -- if sometimes brainless -- suspense.
    • 63 Metascore
    • 60 Mike Scott
    What the Cairns brothers have created is something rare for a horror film: Not only does it get the job done without making you want to shower after it's all over, but they've created multi-dimensional characters who inhabit a believable and expansive environment. In so doing, they've also created a bloody good bit of twisted fun.
    • 59 Metascore
    • 60 Mike Scott
    While it's enjoyable enough to watch, there's no slam-dunk takeaway here.
    • 53 Metascore
    • 60 Mike Scott
    Thanks to Rochefort and Folch, as well as Trueba's delicate direction, it still manages to be an embraceable journey, one with its own quiet -- and artistic -- rewards.
    • 79 Metascore
    • 60 Mike Scott
    Enough Said isn't without the occasional minor formulaic element or the odd narrative contrivance here and there (starting, it must be said, with its very setup). It is, after all, a romantic comedy.
    • 55 Metascore
    • 60 Mike Scott
    A giddy blend of style and attitude that plays like a lightweight cross between a Guy Ritchie and Wes Anderson film.
    • 83 Metascore
    • 60 Mike Scott
    Does The Wind Rises represent Miyazaki at the top of his game? No, not really. But it could be Miyazaki at the end of the game, and that alone is reason enough to appreciate the film for the things it offers rather than hammer it too hard for the things it lacks.
    • 67 Metascore
    • 60 Mike Scott
    It wasn't until Gibney's film was already largely shot that the truth caught up to Armstrong.
    • 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.
    • 76 Metascore
    • 60 Mike Scott
    An entertaining and interesting film, and one that speaks with a reasonable degree of credibility. And while that might not make it high art, it's good enough for me.
    • 60 Metascore
    • 60 Mike Scott
    It all adds up to weave an engaging story, and not just for its wealth of titillations. Many of the sex scenes, in fact, feel more clinical than anything else.
    • 71 Metascore
    • 60 Mike Scott
    This newer installment is every bit its predecessor's match as far as action goes. Where it exceeds it, however, is in the between-the-fights moments.
    • 50 Metascore
    • 60 Mike Scott
    Even though it's a strictly no-frills, straight-forwardly shot affair, it feels overdue.
    • 61 Metascore
    • 60 Mike Scott
    Oculus is a time bomb of a psychological horror film.
    • 68 Metascore
    • 60 Mike Scott
    12 O'Clock Boys is reminiscent of the Ross brothers' far more lyrically shot 2012 film "Tchoupitoulas," which tagged along with three New Orleans boys for a night of exploration and boundary-testing in the French Quarter. The setting is different in Nathan's film, and Nathan doesn't commit as fully as the Rosses did to visual artistry. But there are thematic similarities, to be sure.
    • 43 Metascore
    • 50 Mike Scott
    The ending of Dear John feels manufactured and patently false. Seyfried tries to sell it, but you can tell that she's having a hard time believing the words coming out of her mouth.
    • 65 Metascore
    • 50 Mike Scott
    Parnassus is a cold film that delights in dancing along that fine line separating "fantastical" and "nonsensical." Then, when a movie is supposed to hit things home -- in that all-important third act -- it lands with a thud on the wrong side.
    • 66 Metascore
    • 50 Mike Scott
    The truth, however, is that for much of Soderbergh's film, it's all as yawn-inducing as its premise.
    • 32 Metascore
    • 50 Mike Scott
    Unlike it's "Transformers" cousin, the story is appealingly straightforward, and the movie is chock-a-block with breathless action sequences.
    • 65 Metascore
    • 50 Mike Scott
    A better title: "Coco Before She Was Interesting."
    • 57 Metascore
    • 50 Mike Scott
    That it's all true might make it more heart-tugging, but it doesn't make it any more interesting.
    • 28 Metascore
    • 50 Mike Scott
    It feels like a desperate attempt at edginess -- and desperation is never becoming, whether in real-life romance or in a romantic comedy.
    • 76 Metascore
    • 50 Mike Scott
    Doesn't boast enough universal meaning to make it truly sing.
    • 56 Metascore
    • 50 Mike Scott
    As well-intended as it is, writer-director Max Mayer's film lacks focus.
    • 38 Metascore
    • 50 Mike Scott
    It has a sweet quality, and Forest Whitaker gets a chance to show off his comic chops.
    • 48 Metascore
    • 50 Mike Scott
    It's neither a good movie nor a bad movie. It's just a movie.
    • 33 Metascore
    • 50 Mike Scott
    Built on spasms of explosive summertime action interspersed throughout a vacant shell of an origins story, animator-turned-director Jimmy Hayward's first stab at directing a live-action film ends up feeling like one great, big missed opportunity.
    • 58 Metascore
    • 50 Mike Scott
    More than just corny. Eclipse is boring.
    • 34 Metascore
    • 50 Mike Scott
    Even at its worst moments, it's better than "awful." But at its best, it's never comes close to "incredible."
    • 68 Metascore
    • 50 Mike Scott
    Unfortunately, on the way to delivering that message, it becomes weighted down by its own dreary self-importance.
    • 45 Metascore
    • 50 Mike Scott
    I love a good, brainless action flick as much as the next alpha male, but this time I had a whole lot of trouble laughing along.
    • 45 Metascore
    • 50 Mike Scott
    Sure, it's an interesting scene as he (Stone) chews the fat with Raul Castro, and coca leaves with Bolivia's Evo Morales. But his South of the Border can't be taken seriously, muchacho -- and if you think it can, well, I've got a primo cigar factory in Havana to sell you.
    • 56 Metascore
    • 50 Mike Scott
    The result is a film with sporadic outbursts of wackiness, but one that (Oh, Fortuna's Wheel!) never gains traction from a storytelling standpoint.
    • 85 Metascore
    • 50 Mike Scott
    It's the same fine line that so often separates artfulness and "trying too hard" -- a line that Lebanon tramples all over.
    • 52 Metascore
    • 50 Mike Scott
    She could stand to learn a lesson herself, from another magical governess -- you know, the one about the spoon full of sugar.
    • 51 Metascore
    • 50 Mike Scott
    Rather than "Greased Lightning," we get a holding pattern -- which is better than a crash-landing, but still ...
    • 61 Metascore
    • 50 Mike Scott
    By the time The American is finished, it feels like one great big pointless exercise. With George Clooney on the poster.
    • 35 Metascore
    • 50 Mike Scott
    Clearly, Brevig's past as a visual effects maestro had him focusing more on the look of Yogi Bear than on crafting anything resembling a clever narrative.
    • 27 Metascore
    • 50 Mike Scott
    This is even worse than a repetitive rehash. These "Fockers" are just lazy, limp -- and lame.
    • 64 Metascore
    • 50 Mike Scott
    If there's a breath of fresh air in it all, it's in the form of the young actress Jessica Barden playing a smoking, swearing, Tom Sawyer-flavored teenage delinquent determined to add some life to her excruciatingly boring rural existence.
    • 50 Metascore
    • 50 Mike Scott
    The hard, cold truth is that the hard, cold For Colored Girls is just plain difficult to fall in love with, regardless of the amount of passion Perry poured into it or how much meaning he's freighted it with.
    • 80 Metascore
    • 50 Mike Scott
    Many scenes, like Another Year itself, don't actually go anywhere.
    • 58 Metascore
    • 50 Mike Scott
    It is raw, it is searing, it is honest.
    • 46 Metascore
    • 50 Mike Scott
    An uneven story that tries too hard to be meaningful and not hard enough to be funny.
    • 53 Metascore
    • 50 Mike Scott
    It's not really a Disney film. Rather, this is a product of Starz Animation. It's a key distinction, because -- well, because Starz Animation is no Disney, and it's certainly no Pixar. It proves that here.
    • 36 Metascore
    • 50 Mike Scott
    There are entertaining moments along the way, and some likeable characters.
    • 53 Metascore
    • 50 Mike Scott
    McNamara's relentlessly shiny, happy outlook crosses the line between believable and artificial by about the 10-minute mark.
    • 55 Metascore
    • 50 Mike Scott
    McDonald's film never really finds its footing -- and The Eagle never takes flight.
    • 38 Metascore
    • 50 Mike Scott
    The world is a whole lot more complex than Shadyac seems to realize. If all we need is love, wouldn't we all still be wearing tie-dyed shirts and headbands?
    • 45 Metascore
    • 50 Mike Scott
    Bill Condon returns fans' love and gives them exactly what they have shown they want. That is: uneven storytelling, maudlin dialog and decidedly one-note performances, even from the big names in the cast.
    • 48 Metascore
    • 50 Mike Scott
    Ritchie is simply trying to buy a good movie here -- and forgetting that a little brainpower is also required to complete the job.
    • 57 Metascore
    • 50 Mike Scott
    For the first time in its 25-year existence, Pixar has created an utterly ordinary film.
    • 39 Metascore
    • 50 Mike Scott
    You want a change-up? Here's a change-up: How about if Hollywood stops spoon-feeding us this uninspired pablum and comes up with a fresh idea or two?
    • 64 Metascore
    • 50 Mike Scott
    While this nouveau Fright Night does a reasonable job of maintaining the fun spirit of the original film, between the blood splatters and vamp stakings, it never builds on what the original had to offer -- and thus never quite makes a convincing case for its own existence.
    • 76 Metascore
    • 50 Mike Scott
    A Dangerous Method still feels as if it's based on a rather pedestrian narrative --and so, in the final analysis, Cronenberg's film bores.
    • 56 Metascore
    • 50 Mike Scott
    When making a film for 10-year-old boys, it doesn't have to be good, necessarily -- just good enough. And that's exactly what Real Steel is: good enough.
    • 63 Metascore
    • 50 Mike Scott
    Normally a reliable screenwriter, Sayles probably gives his audience too much credit with regard to its knowledge of what is one of the lesser-known chapters in America's military history. As a result, even with its modern parallels, Amigo makes for dense, slow-going viewing.
    • 51 Metascore
    • 50 Mike Scott
    A movie that offers exactly the kind of bittersweet drama you'd expect from something called White Irish Drinkers.
    • 31 Metascore
    • 50 Mike Scott
    An unapologetic B-movie, Dylan Dog: Dead of Night tries mightily to cover its flaws with a peppering of humor -- much of it supplied courtesy of Dylan's zombie sidekick, played by Sam Huntington -- and an at-times fun "Buffy the Vampire Hunter" vibe.
    • 44 Metascore
    • 50 Mike Scott
    A cast of American actors -- including Matthew Modine, Whoopi Goldberg and Wallace Shawn -- were hired to provide recognizable voices for the English version of the film. They fulfill that requirement, too: Their voices are, indeed, recognizable -- though little more.
    • 58 Metascore
    • 50 Mike Scott
    What we're left with is a thoroughly mediocre, shrug-generating disappointment -- and one that certainly doesn't feel like it should have cost more than a third of a billion dollars to make and market.
    • 40 Metascore
    • 50 Mike Scott
    As ridiculous as it is, Man on a Ledge isn't a movie that requires suspension of disbelief. It requires the absolute absence of it.
    • 52 Metascore
    • 40 Mike Scott
    Part 2 really is a continuation of "Part 1," both from a story standpoint and from an artistic standpoint.
    • 72 Metascore
    • 40 Mike Scott
    The end result feels like only half a movie. That half -- the technical half, with Wong's stylistic flourishes and the film's lush technical elements -- is a heck of a film. The rest of The Grandmaster, however -- the storytelling -- is anything but grand.
    • 80 Metascore
    • 40 Mike Scott
    This is not a feel-good movie. This is the frigid, hard-to-embrace cinematic opposite of a feel-good movie, in fact -- all wrapped in one long, dark metaphor for depression.
    • 64 Metascore
    • 40 Mike Scott
    When a film's clichés are so obvious that its cast points them out for you, you've got to wonder how hard it's really trying.
    • 65 Metascore
    • 40 Mike Scott
    What Monsters University fails to do, though, is to scare up any real emotion.
    • 47 Metascore
    • 40 Mike Scott
    Unfortunately, like the Poison song says -- and, in many ways, like the decade itself -- it ain't nothin' but a good time.
    • 49 Metascore
    • 40 Mike Scott
    Thoroughly, and disappointingly, pedestrian.
    • 40 Metascore
    • 40 Mike Scott
    Few people will be surprised by how it all unfolds or by how it all ends. This is a movie about lightweight entertainment and heavyweight fighters, not a movie about surprises.
    • 43 Metascore
    • 40 Mike Scott
    There's a lot of eye candy in what ends up being a slick, breathless and at-times enjoyable sci-fi update. Unfortunately, it's what Wiseman forgets to do that makes the biggest difference in his film -- and which keeps it from becoming much more than a glossy missed opportunity.
    • 55 Metascore
    • 40 Mike Scott
    The Croods does a lot of things well -- even if it does none of them extraordinarily. The end result is a solidly middle-of-the-road bit of animation -- but the kind that is easily forgotten as soon as something more evolved, and original, comes along.
    • 51 Metascore
    • 40 Mike Scott
    It's not only shameless, it detracts from what this movie could have been, and still is when the self-promoting Harvey shuts up.
    • 41 Metascore
    • 40 Mike Scott
    If you currently own a G.I. Joe toy or if you've dressed like a ninja at least twice since Halloween, you're going to find a lot to "hooah" about in "G.I. Joe: Retaliation."
    • 73 Metascore
    • 40 Mike Scott
    What you won't find amid the clashing cutlasses and flashing foils, however, is anything resembling a rapier wit.
    • 55 Metascore
    • 40 Mike Scott
    So we get no zippy, Tony Stark-flavored one-liners. No comic-relief characters. No nonsense. But that means we also get no up, up and away, either.
    • 61 Metascore
    • 40 Mike Scott
    Just don't think too hard -- or at all, really -- or else you run the risk of realizing that Fast & Furious 6 is running on little more than fumes, with just a shot or two of nitrous.
    • 35 Metascore
    • 40 Mike Scott
    Niccol and Meyer -- who co-produces this, her first post-"Twilight" film -- choose to trade away any shred of the ripe social subtext that has made other body-snatcher films so rich. In its place: the kind of supernatural, star-crossed romance that generates so much swooning from Team "Twilight."
    • 54 Metascore
    • 40 Mike Scott
    None of that is to say that Thor: The Dark World is a bad movie, necessarily. I would never speak ill of a man with a giant, magical hammer. At the same time, hammer or no hammer, it doesn't quite nail it, either.
    • 61 Metascore
    • 40 Mike Scott
    As well-shot and well-acted as it is, one can't help feeling there's a good movie in there somewhere. Unfortunately, it's buried beneath such an avalanche of extraneousness and artistic posing.
    • 48 Metascore
    • 40 Mike Scott
    This is a movie that confuses teary with sweet. Mopey with sad. Discomfort with humor. And, worst of all, it confuses weird with odd.
    • 48 Metascore
    • 40 Mike Scott
    It's done with affection, so it's hard to begrudge Hill for indulging in a postcard cliché or two. After all, it - like Hill's movie as a whole - certainly beats a bullet to the head.
    • 39 Metascore
    • 40 Mike Scott
    As with its gooey, smoochy predecessors, The Lucky One is, beneath it all, a fairy-tale romance, just one with modern trappings.
    • 33 Metascore
    • 40 Mike Scott
    This would be a difficult film even for the charismatic Papa Smith to carry. That he spends nearly the entire movie in a chair doesn't help matters.
    • 39 Metascore
    • 40 Mike Scott
    The stakes in this latest, disappointing Harry Potter wannabe never feel as high as they should, or as important as its characters seem to think they are.
    • 54 Metascore
    • 40 Mike Scott
    Never coalesces into anything memorable, much less meaningful.
    • 49 Metascore
    • 40 Mike Scott
    Not only did Hughes shoot a handful of prominent scene-setting exteriors in the Big Apple itself, but he does an exceptional job of camouflaging his New Orleans scenes.
    • 47 Metascore
    • 40 Mike Scott
    You can color me unimpressed.
    • 57 Metascore
    • 40 Mike Scott
    Because while it can boast of some truly extraordinary special effects -- stomach-churning, face-hacking, arm-slicing visual effects, the kind that are sure to titillate the gleefully twisted -- this Evil Dead is far more gruesome than awesome.
    • 55 Metascore
    • 40 Mike Scott
    Never elevated beyond much more than mere presidential puffery.
    • 53 Metascore
    • 40 Mike Scott
    Pros and cons aside, Sinister has the benefit of arriving in the thick of Halloween season, right when movie-goers are most hungry for a few scares. And they'll get them from Derrickson's film, too.
    • 49 Metascore
    • 40 Mike Scott
    It won't stick to your ribs in the way, say, a shank will -- but it probably won't leave you looking for a way to escape the theater, either.
    • 30 Metascore
    • 40 Mike Scott
    The resulting film, despite its occasional outbursts of action and tension, is less an action film than a psychological thriller, although even there it fumbles the ball.
    • 45 Metascore
    • 40 Mike Scott
    There's a germ of a good story there, and Intruders isn't without the occasional tense moment. But unfortunately Hollowface is as undeveloped as the other characters in Intruders, which is the film's biggest flaw of all.
    • 52 Metascore
    • 40 Mike Scott
    Beautiful Creatures is still an unabashed imitator, hewing closely to the "Twilight" blueprint. Some might go so far as to call it a blatant ripoff, as the differences between the two are cosmetic at best.
    • 32 Metascore
    • 40 Mike Scott
    With a scattered, meandering script, a stable of throwaway characters and an almost laughably drawn-out ending, it's all amounts to standard movie-of-the-week fare dressed up in Sunday-go-to-meeting clothes.
    • 35 Metascore
    • 40 Mike Scott
    The result is exactly what you would expect from a concept whose odometer has been running for so long: uneven laughs, sparked largely by spurts of shock comedy but marred by a general sense of familiarity.
    • 34 Metascore
    • 40 Mike Scott
    It's the kind of cinematic cotton candy that youngsters will gobble up. Even more importantly, it's relatively quick, painless stuff when compared to so many other pint-sized entertainments out there.
    • 52 Metascore
    • 40 Mike Scott
    Any improvements over the original RoboCop are mere window dressing, more a superficial function of technical advances in filmmaking than of any sort of storytelling prowess or fresh narrative ideas.
    • 66 Metascore
    • 40 Mike Scott
    Some of those detours are fun ideas - like Marty's O. Henry-esque tale of the Amish psychopath. Mostly, though, they feel out of place, like so much filler that distracts from the half-developed main story. Call me crazy, but I need more from my movie.