For 760 reviews, this critic has graded:
  • 44% higher than the average critic
  • 3% same as the average critic
  • 53% lower than the average critic
On average, this critic grades 1.7 points higher than other critics. (0-100 point scale)

Mike Scott's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Mud
Lowest review score: 20 Peeples
Score distribution:
  1. Negative: 47 out of 760
760 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
    In the end, Mr. Turner ends up being the best kind of period drama. That is, it is a transportive one, whisking audiences away to a distinct time and place, while also providing no small amount of insight about its subject.
    • 94 Metascore
    • 100 Mike Scott
    Inside Out isn't just a movie. It's a doctoral dissertation on human psychology, with a bit of therapy on the side. Miraculously, it's fun, to boot.
    • 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.
    • 93 Metascore
    • 100 Mike Scott
    With Spotlight, we get a reminder of the vital importance of an independent, professional press to any community.
    • 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.
    • 92 Metascore
    • 80 Mike Scott
    Simply, this is a story that needs to be told, one that proves that sometimes the past shouldn't be relegated to the past. It also makes The Look of Silence an unassailably essential and necessary film.
    • 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.
    • 91 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.
    • 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
    • 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
    • 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
    • 40 Mike Scott
    Two Days, One Night offers a look into the lives of the everyday workers of the world -- the ones for whom a thousand-euro bonus (about $1,100 U.S.) can solve a heck of a lot of problems.
    • 89 Metascore
    • 60 Mike Scott
    If viewed as a literal narrative, the post-war German drama Phoenix, with its implausibilities and contrivances, works only so well. If viewed as an allegory, on the other hand, it ends up as something else entirely -- something intriguing, complex and altogether moving.
    • 89 Metascore
    • 100 Mike Scott
    If nothing else, this is a cinematic high-wire act.
    • 88 Metascore
    • 100 Mike Scott
    Whiplash is, at its core, about jazz -- that smoothest, mellowest of American art forms. But don't let that fool you. Writer-director Damien Chazelle's impressive sophomore effort is about as rock 'n' roll as a movie about jazz can possibly be.
    • 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
    • 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
    • 75 Mike Scott
    Imagine Norman Rockwell had he been more of a realist than a nostalgist.
    • 88 Metascore
    • 100 Mike Scott
    From the first line of its deep, rapid-fire dialog all the way through to its trippy ending -- which is guaranteed prompt discussion on the drive home -- Inarritu has crafted a film that begs to be rewatched, with the promise of each repeated viewing bringing something new.
    • 87 Metascore
    • 80 Mike Scott
    Even with its flaws, the whole exercise makes for an affecting and effective film.
    • 87 Metascore
    • 80 Mike Scott
    This being a period drama, all the expected visual grandeur is present and accounted for, from Yves Belanger's vibrant cinematography to Odile Dicks-Mireaux's period-authentic costumes to Francois Seguin's production design.
    • 87 Metascore
    • 80 Mike Scott
    As is the case with "Amy," there's probably no way any of us could ever truly understand Brando, who often seemed to be living on a different planet than that occupied by the rest of us. But with its anguished first-person voice -- and its permeating sense of sadness -- Listen to Me Marlon comes as close as one imagines is possible.
    • 87 Metascore
    • 100 Mike Scott
    A dazzling, stirring capper to a once-in-a-generation movie franchise.
    • 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
    • 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").
    • 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.
    • 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
    • 100 Mike Scott
    In someone else's hands, Room easily could have become a horror movie. Instead, we get an emotional roller coaster ride -- at turns touching, harrowing, crushing and flat-out beautiful...Along the way, Abrahamson's Room becomes an immensely rewarding film, and the kind of movie that promises to stick with audiences long after the closing credits roll.
    • 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
    • 80 Mike Scott
    Amy
    If there's a voice of wisdom and hope in Kapadia's film, it comes from 89-year-old crooner Tony Bennett, whose duet with Winehouse on "Body and Soul" was reportedly her last studio recording before her death. "Life teaches you how to live it," Bennett tells Kapadia's camera in what ends up being one of the film's ultimate morals. "If you can live long enough."
    • 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
    • 40 Mike Scott
    Like the rest of the film, it's has its laughs and it has its emotion, just not enough of either.
    • 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.
    • 83 Metascore
    • 60 Mike Scott
    A fast-moving, fascinating and at times even fun documentary residing squarely at the intersection of sports, geopolitics and history.
    • 83 Metascore
    • 80 Mike Scott
    This is a film that could -- and should -- catch on. Just be careful nobody follows you home from the theater.
    • 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
    • 40 Mike Scott
    Even with that pedigree, Ponsoldt's film doesn't snap and sizzle as much as it just lays there, leaving moviegoers who haven't been converted to the Wallace cult to long for the end of this particular "Tour."
    • 82 Metascore
    • 70 Mike Scott
    It's one heck of a fun ride, a pure popcorn spectacle that doesn't require a knowledge of the Star Trek mythology to make it enjoyable.
    • 82 Metascore
    • 80 Mike Scott
    Boyle, Sorkin and company might not have invented the iPhone or changed the way people viewed technology, but it does something the real Steve Jobs had trouble doing: It offers a genuine peek at the man behind the turtleneck, and in the process finds a way to connect with its viewers.
    • 82 Metascore
    • 75 Mike Scott
    The film is chilled by characters that never really come alive or generate any deep sympathy.
    • 82 Metascore
    • 40 Mike Scott
    Love is Strange doesn't really have any sort of sense of urgency about it. To the contrary, it feels rather mundane, as their problems -- while both unfortunate and unfair -- feel relatively small when put in perspective.
    • 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
    • 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
    • 60 Mike Scott
    Bridge of Spies, with its stop-and-go momentum, is also more merely interesting than it is full-on riveting. It's still quite good stuff, but despite its impressive pedigree... it doesn't feel as if it's quite the sum of all of its parts.
    • 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.
    • 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
    Few of the characters feel fully fleshed out. McKay's Big Short also lacks a certain nuance in its third act, when McKay's agenda becomes abundantly, ham-handedly clear. Still, it's hard not to be outraged by what is learned.
    • 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
    • 40 Mike Scott
    This is what makes Anderson's film so infuriating. It's so damned irresistible -- until it becomes so damned insufferable, getting lost in a marijuana fog of poorly explained plot developments and indecipherable twists. Still, it's hard to look away for fear of missing some other equally inspired flourish.
    • 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.
    • 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.

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