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 Mud
Lowest review score: 20 Endless Love
Score distribution:
  1. Negative: 44 out of 629
629 movie reviews
    • 100 Metascore
    • 100 Mike Scott
    The greatest movies, the ones that stick with us, are those that hold up a mirror to the human condition and reflect something back at us that we too often manage to overlook. Boyhood is one of those movies, and with it Linklater proves he is among the best practitioners of that art.
    • 97 Metascore
    • 100 Mike Scott
    There's something Shakespearean about it. From the case of mistaken identity (though willfully mistaken) to the formal, old-fashioned language to the tragic tone in which it is all swaddled, this is Shakespeare by way of the Deep South.
    • 96 Metascore
    • 100 Mike Scott
    Gravity, it turns out, is a great film, a technical and storytelling masterpiece that is buoyed by stunning visuals and which functions both as a ripping, tension-filled yarn and as a profound and life-affirming work of art.
    • 95 Metascore
    • 100 Mike Scott
    The result is a ripped-from-the-Zeitgeist film that is razor-sharp, an astute and funny portrait of the early 2000s, with all its LOL's, its IMO's and its WTF's. Mostly its WTF's.
    • 95 Metascore
    • 100 Mike Scott
    The U.S. government did torture prisoners of war in the name of its so-called war on terror and, by extension, in the name of all Americans. What Bigelow and Boal seem to be arguing is that such actions take a deep cosmic toll on the people responsible -- whether directly, in the case of Chastain's character, or indirectly, in the case of you and me.
    • 95 Metascore
    • 80 Mike Scott
    It's the little moments in Farhadi's film that are its most important, speaking every bit as loudly as its big, narrative-driving moments.
    • 94 Metascore
    • 80 Mike Scott
    Not only is the result edifying, but it's also rewarding. And it's a heck of a lot cheaper than a therapy session.
    • 94 Metascore
    • 80 Mike Scott
    Amour is a far cry from the warm-and-fuzzy version of love that most people are probably looking for on Valentine's Day. This movie is more of a slap than a hug. But reality hurts sometimes - just like love does.
    • 92 Metascore
    • 80 Mike Scott
    Inside Llewyn Davis isn't as goofy as 2008's "Burn After Reading," nor as solemn as 2009's "A Serious Man," but it's an embraceable film just the same.
    • 92 Metascore
    • 100 Mike Scott
    Positively soars.
    • 91 Metascore
    • 80 Mike Scott
    A great storyteller, however, is one who can entertain an audience in the moment -- but who also gives them something to think about, something for them to take home with them when the story ends, which is exactly what Polley does in Stories We Tell.
    • 90 Metascore
    • 100 Mike Scott
    More than anything else, however, director Jacques Audiard's gritty, grab-you-by-the-shirtfront film is a mob movie -- a really, really good mob movie. Think "GoodFellas," but with Gauloises and accent aigu instead of plates of spaghetti and accent Pesci.
    • 90 Metascore
    • 100 Mike Scott
    Like "The Hurt Locker," Winter's Bone is a spare but riveting drama with a female director. It is built around a raw, revelatory performance by a young, little-known lead actor.
    • 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.
    • 90 Metascore
    • 80 Mike Scott
    Merely from a film-study standpoint, it's an interesting exercise.
    • 90 Metascore
    • 80 Mike Scott
    Like everyone else in Russell's cast, Lawrence appears to be having a blast in the role. It's downright contagious.
    • 89 Metascore
    • 60 Mike Scott
    It's also a touch tedious at times, as it's not always clear where Oppenheimer is going.
    • 89 Metascore
    • 80 Mike Scott
    Ida
    Agata Kulesza is pitch-perfect as the tortured aunt, weighed down by years of shame and sorrow. In a quieter but equally impactful role is newcomer Agata Trzebuchowska as Ida, a character defined by a quiet, rigid stoicism but who, with her cherubic face, engenders great empathy.
    • 89 Metascore
    • 100 Mike Scott
    If nothing else, this is a cinematic high-wire act.
    • 88 Metascore
    • 88 Mike Scott
    One of the chief reasons that director Tom Hooper's richly produced film works so well is because it operates on so many different levels. The King's Speech is all about layers, and Hooper keeps it humming on several at once.
    • 88 Metascore
    • 100 Mike Scott
    Up
    A thoroughly uplifting bit of cinema.
    • 88 Metascore
    • 100 Mike Scott
    There are moments of depth there as well, as Anderson touches on themes of friendship and loyalty. More than anything else, though, The Grand Budapest Hotel is just a fun ride -- a wild, wonderful ride seemingly plucked out of Anderson's dream journal.
    • 88 Metascore
    • 75 Mike Scott
    Imagine Norman Rockwell had he been more of a realist than a nostalgist.
    • 87 Metascore
    • 100 Mike Scott
    Chaz Ebert says that Roger would have loved Life Itself. I'll take her word for it. She knew him far better than I did. Clearly. But I'll add this: I love it, too.
    • 87 Metascore
    • 100 Mike Scott
    A dazzling, stirring capper to a once-in-a-generation movie franchise.
    • 87 Metascore
    • 75 Mike Scott
    Pitt and Hill are fantastic individually, and hilarious when together -- and on a surprisingly engaging script by Aaron Sorkin ("Social Network") and Steve Zaillian ("Schindler's List").
    • 86 Metascore
    • 100 Mike Scott
    What plays out is something like CSPAN 1865. That is, it's dense, talky stuff at times -- particularly at its start, as the film takes a good 15 minutes to gain traction -- but also highly rewarding and instructive.
    • 86 Metascore
    • 75 Mike Scott
    A thoroughly and unmistakably modern film so rooted in the now that it's bound to be remembered as a cinematic landmark.
    • 86 Metascore
    • 75 Mike Scott
    It is a thoughtful film, a serious one, and one that is sneakily affecting.
    • 86 Metascore
    • 80 Mike Scott
    Sharp, brisk and highly entertaining.
    • 86 Metascore
    • 60 Mike Scott
    What Anderson's talky and willfully opaque film doesn't have, however, is an unfailingly compelling story to tell.
    • 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.
    • 86 Metascore
    • 100 Mike Scott
    Beasts of the Southern Wild is not only a wonderful story -- a portrait of intestinal fortitude in the face of enormous change -- but it's our story, forged in our own shared recent history and dripping with flood, sweat and tears.
    • 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.
    • 85 Metascore
    • 88 Mike Scott
    It's a career-making performance that relies as much on charm as on acting ability -- and Mulligan has both.
    • 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.
    • 85 Metascore
    • 75 Mike Scott
    All in all, Nichols ends up with a richly drawn, and at times disturbing, portrait of one man's descent into madness.
    • 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.
    • 85 Metascore
    • 100 Mike Scott
    A film that is beautiful, harrowing, heartbreaking -- and necessary.
    • 85 Metascore
    • 100 Mike Scott
    This film is undoubtedly a piece of art, as much so as a Picasso painting, one that invites viewers to immerse themselves, scratch their heads and consider it.
    • 85 Metascore
    • 100 Mike Scott
    Fruitvale Station is only the first in a string of civil-rights minded movies set to hit theaters this year -- contributing to what could be the most racially conscious award season in recent memory.
    • 84 Metascore
    • 100 Mike Scott
    A thoroughly endearing journey, and one of the most enjoyable and touching movies to land in theaters so far this year.
    • 84 Metascore
    • 100 Mike Scott
    Feels startlingly real and inherently relevant, a shining, sterling example of cinema at its most powerful and urgent.
    • 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.
    • 84 Metascore
    • 100 Mike Scott
    Not only is it a searing on-the-ground, in-the-fray portrait of the heart of Egypt's ongoing revolution, but it is also a stirring tribute to the indomitable spirit of those who are risking, and in many cases giving, their lives to keep it alive.
    • 84 Metascore
    • 88 Mike Scott
    At times humorous, at times poignant, but always absorbing.
    • 84 Metascore
    • 80 Mike Scott
    McConaughey and Leto's performances are also the saviors of Vallee's film, which has a way of belaboring certain points and, in the process, robbing his film of no small amount of momentum.
    • 84 Metascore
    • 100 Mike Scott
    Not only does it deliver a powerful message, but it is wrapped in an immensely entertaining package.
    • 83 Metascore
    • 88 Mike Scott
    A documentary that is equal parts sweet science, brutal art and masterful filmmaking.
    • 83 Metascore
    • 88 Mike Scott
    A simple story about a difficult man, and it's an impressive debut from writer-director Scott Cooper.
    • 83 Metascore
    • 75 Mike Scott
    Even though it's right there in the title, "fantastic" might be a touch hyperbolic in describing director Wes Anderson's stop-motion adaptation of Roald Dahl's The Fantastic Mr. Fox, but only by a whisker.
    • 83 Metascore
    • 75 Mike Scott
    It's also a British comedy, with that singularly British way of being clever and deliriously juvenile all at once, a combination that makes for scathing, laugh-out-loud, big-screen satire.
    • 83 Metascore
    • 100 Mike Scott
    Extraordinarily engaging but surprisingly sobering.
    • 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.
    • 83 Metascore
    • 80 Mike Scott
    A crowd-pleaser, through and through.
    • 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.
    • 83 Metascore
    • 100 Mike Scott
    This kind of cinematic delight is a rarity, a warm and masterfully crafted reminder of why we love to go to the movies in the first place.
    • 83 Metascore
    • 80 Mike Scott
    The surprise is that Captain Phillips is a surprise in the first place, pitching and rolling tirelessly like the sea on which it is set and, in the process, becoming one of the most enjoyable and well-made movies to hit theaters this year.
    • 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.
    • 83 Metascore
    • 38 Mike Scott
    Dumont's fans might find this latest exercise enjoyable, but his style of filmmaking is an acquired taste. I doubt those without that taste are going to acquire it here.
    • 82 Metascore
    • 100 Mike Scott
    127 Hours -- just like "Slumdog Millionaire" -- is a masterful slice of four-star cinema, featuring an irresistible performance by James Franco, breathtaking cinematography, and the kind of deep, searching soul that is absent from so much of what comes out of Hollywood.
    • 82 Metascore
    • 63 Mike Scott
    A beautifully uncomplicated story, really -- about the love between daddies and their little girls.
    • 82 Metascore
    • 88 Mike Scott
    A story of hope amid the ruins -- one that everybody can appreciate, no matter their politics.
    • 82 Metascore
    • 75 Mike Scott
    The film is chilled by characters that never really come alive or generate any deep sympathy.
    • 82 Metascore
    • 80 Mike Scott
    Berger's film is still far more magical than it is macabre. And so although a black-and-white, foreign-film adaptation of a very familiar tale might, indeed, be a hard sell, audiences who buy into it are in for an undeniably rewarding movie-going experience. In a word: ¡Ole!
    • 81 Metascore
    • 75 Mike Scott
    The performances are strong enough to elevate things. Darin, Villamil and Francella are the kinds of actors who you just know you've seen before, but whom you probably haven't.
    • 81 Metascore
    • 100 Mike Scott
    It is beautiful, and it is difficult to watch. It is heartwarming, and it is heart-wrenching. It is absorbing, and it's unsettling.
    • 81 Metascore
    • 63 Mike Scott
    Don't expect there to be a run on Secret of Kells action figures any time soon.
    • 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.
    • 81 Metascore
    • 40 Mike Scott
    No
    You'd think that a movie about such a dynamic moment and such a vibrant ad campaign would be more dynamic and vibrant.
    • 81 Metascore
    • 80 Mike Scott
    It's that zippy dialog more than anything that moves "Django" along and that coaxes such fantastic performances from its actors.
    • 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.
    • 81 Metascore
    • 88 Mike Scott
    A lovely jaunt that ends up becoming one of Allen's most enjoyable films, start-to-finish, in years.
    • 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.
    • 81 Metascore
    • 100 Mike Scott
    To his credit, however, the often-playful Blomkamp never bludgeons his audience with any specific message. He's too busy letting 'er rip with his edge-of-your-seat, and unapologetically violent, sci-fi adventure.
    • 81 Metascore
    • 80 Mike Scott
    The result is an intelligent and well-crafted film that works to inspire audiences by finding the humor amid the prevailing bittersweetness of life, and that celebrates the strength of the human spirit with a dose of unbridled and entirely embraceable optimism.
    • 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.
    • 80 Metascore
    • 75 Mike Scott
    As a result, the slickly produced Food, Inc. is more deeply unsettling than it is out-and-out stomach-turning.
    • 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.
    • 80 Metascore
    • 75 Mike Scott
    This is a dirty, stinky Western -- the kind where authenticity is the guiding artistic hand and where a layer of filth and grime have seemingly settled over everything but the popcorn in your lap.
    • 80 Metascore
    • 63 Mike Scott
    This is a film custom-made for dog lovers.
    • 80 Metascore
    • 63 Mike Scott
    It boasts strong acting and a nice dose of suspense.
    • 80 Metascore
    • 50 Mike Scott
    Many scenes, like Another Year itself, don't actually go anywhere.
    • 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.
    • 79 Metascore
    • 100 Mike Scott
    The result is a human drama that quietly argues that the gift of life isn't one to be taken lightly.
    • 79 Metascore
    • 80 Mike Scott
    While Pariah starts out as a film with moments of predictability, it evolves into a smart, compelling -- and optimistic -- portrait of heartbreak and hope.
    • 79 Metascore
    • 75 Mike Scott
    Precious is painful, it is harrowing, it is emotionally exhausting. It is also a singular film, one that is as difficult to compare to another as it is to forget.
    • 79 Metascore
    • 63 Mike Scott
    The only thing missing from the film -- which is frequently amusing but too bleak to be consistently laugh-out-loud funny -- is a genuine connection with its audiences, or at least those audiences not raised in 1960s Jewish suburbia.
    • 79 Metascore
    • 75 Mike Scott
    A punch-drunk tale whose fitful ramble from Jerry Springer-style family seaminess to "Rocky"-like triumph is elevated enormously by knockout performances.
    • 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.
    • 79 Metascore
    • 80 Mike Scott
    Here is a film that not only entertains, but also educates and -- thanks to Jodo's deep confidence and energetic artistic optimism -- one that also inspires.
    • 79 Metascore
    • 88 Mike Scott
    Bong's film starts out as a comedy, transforms into a quirky Agatha Christie whodunnit and finishes with an unpredictable Hitchcockian flourish.
    • 79 Metascore
    • 80 Mike Scott
    Makes for riveting viewing. Dawn of the Planet of the Apes is among the more brisk 2 hours and 10 minutes I've spent in a theater in some time -- and it's easily the most rewarding of this year's summer tentpole films.
    • 79 Metascore
    • 80 Mike Scott
    The result is a movie built upon big ideas -- and timely ones, too, delivering a message of understanding in this frustrating age of great intolerance -- but also a great story and, thanks to Lee, a wonderfully satisfying cinematic journey.
    • 79 Metascore
    • 88 Mike Scott
    Without subtitles this time, it also stands a very real chance of migrating out of America's art houses and into its multiplexes, where it can sink its teeth into a whole new audience.
    • 79 Metascore
    • 100 Mike Scott
    All music docs are not created equal. Yes, some are formulaic. But some are beautiful, some are singular, some are marvels of storytelling. And some, like Searching for Sugar Man, are all three.
    • 79 Metascore
    • 75 Mike Scott
    Arriving with a savage grace, director Darren Aronofsky's nightmare-come-to-life Black Swan cements his reputation not only as one of the more daring filmmakers of his generation, but also as an actor's director of the first order.
    • 78 Metascore
    • 75 Mike Scott
    With its emphasis on relationships and character, Drive can best be described as a thinking man's action film -- or at least, it could if it didn't ultimately feel so oddly slight. As it is, for all of its positives, it functions mostly as a guilty pleasure rather than as a movie that resonates the way, say, "Blue Valentine" does.
    • 78 Metascore
    • 40 Mike Scott
    It's that end -- the film's final sobering five minutes -- in which Blue Jasmine is at its most effective. Credit is due there to Blanchett's table-setting performance in it and in the hour and half preceding it. It's also due to the courage Allen displays as a storyteller in ending this particular story in the way it has to end.