For 701 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 2.2 points higher than other critics. (0-100 point scale)

Mike Scott's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Up
Lowest review score: 20 Walk of Shame
Score distribution:
  1. Negative: 46 out of 701
701 movie reviews
    • 44 Metascore
    • 60 Mike Scott
    Is all of that to say that Oz the Great and Powerful comes even close to matching the timeless, iconic stature of 1939's "The Wizard of Oz"? No, of course not. That's not just a once-in-a-lifetime cultural phenomenon, but a once-in-many-liftimes one.
    • 59 Metascore
    • 60 Mike Scott
    Yes, Apatow's film has its peaks and valleys -- just the way life does -- but it stands alone nicely on its own, a satisfying comedic riff on life and all of its absurdities.
    • 80 Metascore
    • 60 Mike Scott
    As it is, it's little more than an artful rehash -- which means that anyone who wants closure to the story, or to see justice truly served, will have to wait a little longer.
    • 59 Metascore
    • 60 Mike Scott
    Nicole Kidman as wife Patti (shows nice, subtle touches in her limited time on-screen).
    • 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.
    • 50 Metascore
    • 60 Mike Scott
    Even though it's a strictly no-frills, straight-forwardly shot affair, it feels overdue.
    • 66 Metascore
    • 60 Mike Scott
    Making it even more intriguing is the fact that the whole thing is, extraordinarily, inspired by a true story.
    • 66 Metascore
    • 60 Mike Scott
    The music, of course, is the engine that makes the whole exercise go, tapping into a genre-spanning collection of tunes, but every bit as important to the film's success is its unexpected humor, which flirts with raunchy but stops juuuust short of crossing any lines that would have earned it an R rating.
    • 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.
    • 72 Metascore
    • 60 Mike Scott
    The result is an artist profile that doesn't feel like the standard, stuffy artist profile. Instead, Beauty is Embarrassing is an entertaining whimsy that, like White, never takes itself too seriously, doesn't overstay its welcome and never, ever underestimates the value of a chuckle.
    • 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.
    • 71 Metascore
    • 60 Mike Scott
    Ends up being foreign but familiar, artful and honest, as well as beautiful and believable.
    • 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.
    • 52 Metascore
    • 60 Mike Scott
    A rewarding, moving and satisfyingly original film.
    • 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.
    • 84 Metascore
    • 60 Mike Scott
    The resulting slowdown, as well as a significant narrative shift, gives Looper a slightly sprawling and ungrounded feel at times, almost as if the first and second halves are two separate movies.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 89 Metascore
    • 60 Mike Scott
    It's also a touch tedious at times, as it's not always clear where Oppenheimer is going.
    • 61 Metascore
    • 60 Mike Scott
    Gilroy -- who earned writing credits on all four "Bourne" films -- doesn't miss when it comes to the most important task at hand: He takes a well-worn concept and makes it feel new, and without sacrificing its sense of familiarity.
    • 50 Metascore
    • 60 Mike Scott
    No, it's not a perfect movie, given how dangerously close it comes to running out of quality third-act punchlines before you're liable to have run out of Sno-caps and Raisinettes. Also, some of the biggest names in the supporting cast -- John Lithgow and Dan Aykroyd, specifically -- are all but wasted.
    • 63 Metascore
    • 60 Mike Scott
    A solidly entertaining and largely engaging film that, even with its faults, functions as a singular -- albeit melancholy -- tribute to a tragic American icon.
    • 40 Metascore
    • 60 Mike Scott
    The surrealist and decidedly bizarre humor of Tim Heidecker and Eric Wareheim is, to put it mildly, an acquired taste -- and there's no guarantee you'll ever actually acquire it.
    • 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.
    • 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.
    • 72 Metascore
    • 60 Mike Scott
    Yes, it's a nature documentary, so it includes predatory behavior, but it's mercifully brief and generally tastefully photographed. Plus, it doesn't involve any of the film's main monkeys, so little hearts won't be broken.
    • 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.
    • 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.
    • 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.
    • 50 Metascore
    • 60 Mike Scott
    If nothing else, True Story is the kind of movie that will spark spirited discussion among moviegoers prone to digging and searching for the truth -- whatever that might be.
    • 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.
    • 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.
    • 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.
    • 73 Metascore
    • 60 Mike Scott
    Michell's is a film with somewhere to go -- and that journey is one well worth taking.
    • 66 Metascore
    • 60 Mike Scott
    Is Premium Rush a two-wheeled "French Connection"? No, not by a long shot. (Although it does include a racing-beneath-the-el-train homage.) But when it comes to lightweight, synapse-free action fare, Premium Rush delivers.
    • 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.
    • 62 Metascore
    • 60 Mike Scott
    42
    Aesthetically, Helgeland's film -- while highly polished -- is straight-forward stuff, hewing so closely to the prescribed genre conventions as to border on unimaginative.
    • 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.
    • 61 Metascore
    • 60 Mike Scott
    Dawson, who to this point has largely built her career playing supporting characters, seizes the opportunity to stand center-stage, all but taking over the film.
    • 41 Metascore
    • 60 Mike Scott
    It's no "Das Boot," but Battleship is a boatload of popcorny fun.
    • 42 Metascore
    • 60 Mike Scott
    It's an uneven but fairly enjoyable ride, one that benefits from Statham's cool, capable presence.
    • 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.
    • 68 Metascore
    • 60 Mike Scott
    Flaws aside, the journey will be largely worth it for audiences, particularly for fans of the genre.
    • 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.
    • 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.
    • 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.
    • 77 Metascore
    • 60 Mike Scott
    There's a good reason why the true-crime film The Imposter is a documentary: If someone tried to pass off this bizarre Texas tale as fiction, nobody would believe it.
    • 71 Metascore
    • 60 Mike Scott
    Here's the crazy thing, though. Against all odds, it works.
    • 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.
    • 54 Metascore
    • 60 Mike Scott
    Granted, "intelligent" might be too generous a word to describe Oblivion, which flirts with big questions, but never answers them. What's left is a story that doesn't quite go where no man has gone before.
    • 68 Metascore
    • 60 Mike Scott
    Even if it doesn't provide all the answers, "The East" asks some pretty darn good questions.
    • 52 Metascore
    • 60 Mike Scott
    Although Epic isn't quite an animated masterpiece -- or as enchanting as the vastly underrated "Guardians" -- it's still a fun, sweet-hearted kid-pleaser that boasts some downright lovely animation.
    • 44 Metascore
    • 60 Mike Scott
    As a modest bit of feel-good entertainment, Vaughn and Delivery Man mostly deliver the goods.
    • 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.
    • 62 Metascore
    • 60 Mike Scott
    An uplifting and colorful crowd-pleaser, it's built on a wealth of cinematic contrivances -- all designed to make sure things, indeed, turn out all right in the end -- but the result is just too good-natured to begrudge.
    • 56 Metascore
    • 60 Mike Scott
    The good news: This is Goldthwait the writer-director, not Goldthwait the actor -- so there's no schticky voice to endure. But his exceedingly black comedy does speak loudly -- and it turns out he's actually got something worthwhile to say.
    • 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.
    • 48 Metascore
    • 60 Mike Scott
    It's a film that benefits greatly from Clarkson's well-seasoned chops, given that the first act of October Gale -- while illuminating with regard to her character -- boasts precious little dialog.
    • 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.
    • 67 Metascore
    • 60 Mike Scott
    The real point of This is The End, however, is to make people laugh -- and it accomplishes that. Often, in fact -- and satisfyingly.
    • 82 Metascore
    • 60 Mike Scott
    A fast-moving, fascinating and at times even fun documentary residing squarely at the intersection of sports, geopolitics and history.
    • 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.
    • 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.
    • 72 Metascore
    • 60 Mike Scott
    It also includes the elucidating, offering a rare glimpse at the architecture of Spinney's elaborate Big Bird costume.
    • 72 Metascore
    • 60 Mike Scott
    John C. Reilly provides the voice of Ralph, and he's every bit as good as you'd expect in the role. It's Sarah Silverman, however, as his unlikely sidekick, and rescue subject, whose considerable charm threatens to steal the show.
    • 62 Metascore
    • 60 Mike Scott
    In other words, Iron Man 3 -- once more delivering a satisfying combination of humor, action and dazzling set pieces -- provides everything fans of the franchise expect.
    • 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.
    • 55 Metascore
    • 60 Mike Scott
    Hitchcock purists will certainly take issue with some details, but Gervasi's film shouldn't be taken as an ironclad factual film docudrama. Rather, it is fact-inspired fiction -- a film based on real events but one that isn't shy about taking creative liberties. As long as viewers keep that in mind, Gervasi's stands to be a nice bit of murderous fun.
    • 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.
    • 52 Metascore
    • 60 Mike Scott
    This is solidly a genre picture, and one that follows all the necessary conventions -- but it's also one that does it all very well. That means lots of big, dumb and loud action -- but it also means good, popcorny, summer fun.
    • 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.
    • 66 Metascore
    • 60 Mike Scott
    Visually stunning.
    • 71 Metascore
    • 60 Mike Scott
    Vinterberg's Far From the Madding Crowd is a lovely adaptation. What's more, it's downright entertaining.
    • 66 Metascore
    • 60 Mike Scott
    The problem is that the film must re-establish a great deal of mythology, much of which is already familiar to most moviegoers. Unfortunately, Webb's film never quite makes usshake the feeling that we've done all this before.
    • 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.
    • 67 Metascore
    • 60 Mike Scott
    It wasn't until Gibney's film was already largely shot that the truth caught up to Armstrong.
    • 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.
    • 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.
    • 86 Metascore
    • 60 Mike Scott
    What Anderson's talky and willfully opaque film doesn't have, however, is an unfailingly compelling story to tell.
    • 58 Metascore
    • 60 Mike Scott
    It's an uplifting, even enchanting, smile-inducer.
    • 58 Metascore
    • 60 Mike Scott
    Ends up being the kind of movie we don't see a whole lot anymore: an emotionally grounded and quietly meaningful crowd-pleaser that functions as a lovely antidote to the recently ended summer blockbuster season.
    • 47 Metascore
    • 60 Mike Scott
    At worst, though, the film's faintly sleazy bait-and-switch tactic robs the film of its biggest asset -- its sense of fun.
    • 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.
    • 61 Metascore
    • 60 Mike Scott
    One gets the feeling that Thompson left a lot on the table with The Jeffrey Dahmer Files, that it could have been something more, something bigger, something elaborate. And that may be true. But the film that Thompson did choose to make - one that is both simple but effective -- is fascinating in its own right.
    • 65 Metascore
    • 60 Mike Scott
    Billed as a dramatic comedy, and it lives up to that billing, even if it tends more toward chuckles than guffaws. In other words, one thing it's not is "It's Complicated," Streep's previous -- and often riotous -- relationship dramedy.
    • 66 Metascore
    • 60 Mike Scott
    Seizing the role, and the screen, Gelber actually makes us care what happens to his surly, thoroughly unlikable character.
    • 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.
    • 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.
    • 51 Metascore
    • 50 Mike Scott
    Rather than "Greased Lightning," we get a holding pattern -- which is better than a crash-landing, but still ...
    • 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.
    • 36 Metascore
    • 50 Mike Scott
    There are entertaining moments along the way, and some likeable characters.

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