For 677 reviews, this critic has graded:
  • 47% higher than the average critic
  • 2% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 2.7 points higher than other critics. (0-100 point scale)

Mike Scott's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Toy Story 3
Lowest review score: 20 Endless Love
Score distribution:
  1. Negative: 46 out of 677
677 movie reviews
    • 61 Metascore
    • 60 Mike Scott
    Granted, Elysium could be more clever as it goes about its business. This is smart sci-fi, but it's not as smart as it could have been -- or as many "District 9" fans were probably hoping it would be.
    • 39 Metascore
    • 60 Mike Scott
    Director Klay Hall's embraceable, overachieving romp plays nicely as a big-screen feature.
    • 66 Metascore
    • 60 Mike Scott
    Making it even more intriguing is the fact that the whole thing is, extraordinarily, inspired by a true story.
    • 44 Metascore
    • 60 Mike Scott
    He was a charismatic leader and the greatest salesman the industry ever saw. He also was a very vocal spokesman for the graying counterculture -- crediting his high-tech success to Zen Buddhism, Dylan songs and acid trips.
    • 76 Metascore
    • 60 Mike Scott
    Imbued as it is with a sense of discomforting truth, it is a worthwhile examination of human nature -- and one with a message well worth heeding.
    • 89 Metascore
    • 60 Mike Scott
    It's also a touch tedious at times, as it's not always clear where Oppenheimer is going.
    • 81 Metascore
    • 60 Mike Scott
    Also helping to sell it all is the fact that these films, goofy though they may be, feature a consistently high level of acting. In addition to Pegg, we get Martin Freeman ("The Hobbit"), Paddy Considine ("Red Riding"), Eddie Marsan ("Sherlock Holmes") and Bill Nighy ("Love Actually"), all of whom have appeared previously in the trilogy.
    • 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.
    • 58 Metascore
    • 60 Mike Scott
    While it's enjoyable enough to watch, there's no slam-dunk takeaway here.
    • 74 Metascore
    • 60 Mike Scott
    It's that sort of singular imagery that ultimately rescues Lowery's film. Yes, it's a flawed movie, but it also is a downright lovely one.
    • 59 Metascore
    • 60 Mike Scott
    It aims to entertain, to offer a few tame chuckles for parents and children to enjoy in a purely Saturday-morning way. And it accomplishes that.
    • 78 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.
    • 51 Metascore
    • 60 Mike Scott
    In the final analysis, that's the real endgame here: to get people into theaters and build a film franchise. For all of their film's flaws, Hood and company do that well, as Ender's Game shapes up as a decent franchise starter -- and a film that makes it hard not to be intrigued by what will come next.
    • 44 Metascore
    • 60 Mike Scott
    As a modest bit of feel-good entertainment, Vaughn and Delivery Man mostly deliver the goods.
    • 74 Metascore
    • 60 Mike Scott
    The real highlight, though, is the music by Robert Lopez and Kristen Anderson-Lopez.
    • 49 Metascore
    • 60 Mike Scott
    Most normal people will not see this as a "pleasant" film -- I hope that's the case, anyway -- but it certain makes you feel something.
    • 66 Metascore
    • 60 Mike Scott
    Visually stunning.
    • 67 Metascore
    • 60 Mike Scott
    It wasn't until Gibney's film was already largely shot that the truth caught up to Armstrong.
    • 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.
    • 60 Metascore
    • 60 Mike Scott
    While Lone Survivor is presented as a piece of hero-focused entertainment, it is a suitably sobering one in the end, and a film that is bound to stick to the ribs of audiences longer than, say, your average Superman movie.
    • 58 Metascore
    • 60 Mike Scott
    Not, in other words, a happy story. It is not a story of redemption or healing or finding happiness amid the despair. It is about reaping what one sows. But, damn, those performances. Damn, that dialog. Damn, that's good stuff.
    • 90 Metascore
    • 60 Mike Scott
    Her
    Even a flawed Spike Jonze film is a thing of beauty in its own way, and even the uneven but admirable Her is a journey well worth taking.
    • 50 Metascore
    • 60 Mike Scott
    Even though it's a strictly no-frills, straight-forwardly shot affair, it feels overdue.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 70 Metascore
    • 60 Mike Scott
    So here's what moviegoers can trust from the Russo's Captain America: Winter Solider: They can trust it to be a brisk ride. They can trust it to be entertaining. They can expect it to be suspenseful.
    • 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.
    • 64 Metascore
    • 60 Mike Scott
    Vol. 1 functions reasonably well as a standalone film in its own right, playing out like a dose of mass therapy, an interesting, Von Trier-led sexploration of humankind's conflicted approach to sex: We love it, but we also fear it and are often thoroughly ashamed of it.
    • 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.
    • 61 Metascore
    • 60 Mike Scott
    Oculus is a time bomb of a psychological horror film.
    • 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.
    • 59 Metascore
    • 60 Mike Scott
    Nicole Kidman as wife Patti (shows nice, subtle touches in her limited time on-screen).
    • 68 Metascore
    • 60 Mike Scott
    Can it be considered a comic masterpiece on the same level as "Animal House," that mother of frat-house comedies? Not by a long shot.
    • 58 Metascore
    • 60 Mike Scott
    A low-energy drama, but the kind that has a way of holding your attention -- and keeping you smiling -- for the entire time you're watching it, lifting your mood in the process.
    • 59 Metascore
    • 60 Mike Scott
    Wiig is so enjoyable to watch that it rescues Johnson's film. She's the best reason to see it.
    • 64 Metascore
    • 60 Mike Scott
    Still, it's all enjoyable enough, playing out like a cross between "Pride and Prejudice" and "Amistad" -- and a welcome change of pace for those trying to avoid the radioactive spiders and time-traveling mutants that have otherwise invaded the summer movie season.
    • 44 Metascore
    • 60 Mike Scott
    This is a movie that -- in addition to being exceedingly well-cast and surprisingly well-shot -- is gleefully inappropriate and indulgently crass at every turn.
    • 56 Metascore
    • 60 Mike Scott
    Enchanting enough to cast a spell over fans, of Jolie, of Disney, of "Sleeping Beauty" -- and of pure, cinematic escapism.
    • 86 Metascore
    • 60 Mike Scott
    This is a film your preschooler will sit through, and attentively. Better yet, parents who appreciate the artistry of a well-made animated film also stand to be swept up in what is a delightful little tale.
    • 76 Metascore
    • 60 Mike Scott
    Even when it is at its most esoteric, The Dance of Reality is always brimming with passion and a daring originality. That helps smooth over the flaws, such as its general staginess and his self-indulgent tendencies.
    • 71 Metascore
    • 60 Mike Scott
    Here's the crazy thing, though. Against all odds, it works.
    • 73 Metascore
    • 60 Mike Scott
    Witching and Bitching -- though perhaps a bit overlong, and prone to meandering -- is unapologetic about what it is: a crazy, just-for-fun film that revels in its own bad taste.
    • 73 Metascore
    • 60 Mike Scott
    Michell's is a film with somewhere to go -- and that journey is one well worth taking.
    • 65 Metascore
    • 60 Mike Scott
    The result is a film that feels breezy at times, but also grounded in a sense of emotional honesty.
    • 76 Metascore
    • 60 Mike Scott
    Not all of the stand-up scenes in Obvious Child are quite as funny. At least one is meant to be bad. Another is meant to be poignant but just ends up coming off as a touch weird and emotionally false.
    • 81 Metascore
    • 60 Mike Scott
    Sometimes the nuts-and-bolts of the story threaten to snag, most often on conversations about the very specific details of Locke's largely humdrum job. It's those moments in particular that keep Locke from ever quite shaking the feeling that it's a gimmick film.
    • 53 Metascore
    • 60 Mike Scott
    Despite its adoption of that trendy (and more than a little tired) shooting style, there's an old-fashioned charm to Earth to Echo.
    • 55 Metascore
    • 60 Mike Scott
    The resulting coming-of-age story isn't necessarily an uplifting one. It is harsh. It is melancholy. It is sometimes uncomfortable to watch and predictable here and there. But it also boasts a feeling of authenticity.
    • 71 Metascore
    • 60 Mike Scott
    Few of the film's secondary characters feel fully developed, with the possible exception of Nelsan Ellis' portrayal of Brown sidekick Bobby Byrd.
    • 77 Metascore
    • 60 Mike Scott
    Calvary is most assuredly not a comedy. It is a weighty, powerful drama -- albeit one with comic moments -- that dabbles in weighty, powerful themes.
    • 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.
    • 75 Metascore
    • 60 Mike Scott
    Yes, that makes Frank weird, but it's the kind of weird I can't get enough of.
    • 69 Metascore
    • 60 Mike Scott
    Without Hardy, The Drop would be in danger of becoming just another crime drama. With him, though, it's something else entirely -- something alive, tightly wound and irresistible.
    • 56 Metascore
    • 60 Mike Scott
    It's also both intense and entertaining enough to leave audiences hungry for the inevitable sequel so clearly set up by its cliffhanger ending.
    • 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.
    • 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.
    • 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."
    • 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.
    • 65 Metascore
    • 60 Mike Scott
    It's in the film's Africa-set scenes -- at the film's start and again in its closing 25 minutes or so -- when The Good Lie is at its best. This is where the story is at its most moving and rewarding.
    • 57 Metascore
    • 60 Mike Scott
    There's something haunting going on in The Notebook -- in the story, in the performances, in the overall atmosphere -- that makes it hard to look away from, and equally hard to forget.
    • 54 Metascore
    • 60 Mike Scott
    Amusing as it often is, it's all also fairly predictable stuff. If there's one thing Arteta's script is missing, it's imagination.
    • 46 Metascore
    • 60 Mike Scott
    Aja's film ends up being an fairly satisfying Halloween diversion, using those magical horns to overcome its flaws and transform itself into a decidedly dark, but weirdly sweet, ride.
    • 74 Metascore
    • 60 Mike Scott
    As far as 'toons go, it's probably most reminiscent of Pixar's "The Incredibles," given that both are stories about superhero teams. There are also echoes of "How to Train Your Dragon" in the flying scenes, featuring little Hiro perched atop Baymax's back. But even then, Big Hero 6 still feels like its own, distinct creature.
    • 63 Metascore
    • 60 Mike Scott
    Even when Laggies strains against its contrived conceit, his (Rockwell) chemistry with Knightley goes a long way in classing up the joint and making Shelton's film feel just deep enough to pass muster.
    • 68 Metascore
    • 60 Mike Scott
    Flaws aside, the journey will be largely worth it for audiences, particularly for fans of the genre.
    • 59 Metascore
    • 60 Mike Scott
    That's a lot of storytelling going on, and it costs Battle of the Five Armies a certain cohesion.
    • 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
    Big Eyes is not dissimilar to the Keane paintings at its center. That is, it's by no means flawless, but there's an odd attraction there, something intriguing that draws you in and makes you want to find out if there's anything worthwhile there. You can say what you will about Keane's work, but in the case of Burton's film, these "Eyes" have it.
    • 81 Metascore
    • 60 Mike Scott
    Foxcatcher isn't a film many viewers will clamor to rewatch. It's too chilly a film for that. At the same time, it's one that will suck them in -- and it will hold them while they're there.
    • 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.
    • 45 Metascore
    • 60 Mike Scott
    There's a chance Black or White just might offend some, but it's more likely to get them thinking and talking. In this day and age, and given recent headlines, it's hard to ask much more from a movie.
    • 62 Metascore
    • 60 Mike Scott
    Black Sea gets the job done, accomplishing all that it sets out to do -- and better than most January thrillers.
    • 79 Metascore
    • 60 Mike Scott
    A Most Violent Year harks back to the cinema tradition of the 1970s, with its deliberate pace, its simmering tension, its gritty cynicism and its central moral dilemma. At the same time, it has something to say about the way business is done in 2015.
    • 87 Metascore
    • 60 Mike Scott
    What we get is a an intriguing relationship drama, one that is at times darkly funny, at others thought-provoking, but mostly piano-wire tense.
    • 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.
    • 56 Metascore
    • 60 Mike Scott
    The pieces click together nicely in what ends up being an overall enjoyable package.
    • 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.
    • 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.
    • 76 Metascore
    • 50 Mike Scott
    Doesn't boast enough universal meaning to make it truly sing.
    • 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.
    • 56 Metascore
    • 50 Mike Scott
    As well-intended as it is, writer-director Max Mayer's film lacks focus.
    • 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.
    • 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.
    • 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.
    • 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.
    • 68 Metascore
    • 50 Mike Scott
    Unfortunately, on the way to delivering that message, it becomes weighted down by its own dreary self-importance.
    • 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."
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 51 Metascore
    • 50 Mike Scott
    Rather than "Greased Lightning," we get a holding pattern -- which is better than a crash-landing, but still ...

Top Trailers