For 629 reviews, this critic has graded:
  • 48% higher than the average critic
  • 2% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 3.2 points higher than other critics. (0-100 point scale)

Mike Scott's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 The Grand Budapest Hotel
Lowest review score: 20 Peeples
Score distribution:
  1. Negative: 44 out of 629
629 movie reviews
    • 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.
    • 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.
    • 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.
    • 45 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.
    • 75 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.
    • 75 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.
    • 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 ...
    • 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.
    • 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.
    • 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.
    • 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.
    • 27 Metascore
    • 50 Mike Scott
    This is even worse than a repetitive rehash. These "Fockers" are just lazy, limp -- and lame.
    • 46 Metascore
    • 50 Mike Scott
    An uneven story that tries too hard to be meaningful and not hard enough to be funny.
    • 58 Metascore
    • 50 Mike Scott
    It is raw, it is searing, it is honest.
    • 80 Metascore
    • 50 Mike Scott
    Many scenes, like Another Year itself, don't actually go anywhere.
    • 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.
    • 55 Metascore
    • 50 Mike Scott
    McDonald's film never really finds its footing -- and The Eagle never takes flight.
    • 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.
    • 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.
    • 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?
    • 51 Metascore
    • 50 Mike Scott
    A movie that offers exactly the kind of bittersweet drama you'd expect from something called White Irish Drinkers.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.